What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism—tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins—from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus—have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.
What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism—tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins—from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus—have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.
How fluorescent orange symbolizes the uneven distribution of safety and risk in the neoliberal United States Safety Orange first emerged in the 1950s as a bureaucratic color standard in technical manuals and federal regulations in the United States. Today it is most visible in the contexts of terror, pandemic, and environmental alarm systems; traffic control; work safety; and mass incarceration. In recent decades, the color has become ubiquitous in American public life—a marker of the extreme poles of state oversight and abandonment, of capitalist excess and dereliction. Its unprecedented saturation encodes the tracking of those bodies, neighborhoods, and infrastructures judged as worthy of care—and those deemed dangerous and expendable. Here, Anna Watkins Fisher uses Safety Orange as an interpretive key for theorizing the uneven distribution of safety and care in twenty-first-century U.S. public life and for pondering what the color tells us about neoliberalism’s intensifying impact often hiding in plain sight in ordinary and commonplace phenomena. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
Here I lie, a matron... I was wife to Fortunatus, my father was Veturius. Unlucky woman, born twenty-seven years ago and married for sixteen - one bed, one marriage - I died after six births, just one child remains." This epitaph of a Roman woman named Veturia, who died in the 3rd century BCE, starkly captures the relentless cycle of birthing, rearing, and burying children that defined the lives of ancient Mediterranean women. In this book, Anna Bonnell Freidin asks: how would Veturia and her family have understood such losses, child after child? What kinds of strategies might she have employed to protect herself and her infants, to equip them for better futures? How would she, her family, and any caretakers have worked to mitigate the dangers of pregnancy and birth? Put more generally, how did Romans approach the risks of childbearing? Freidin demonstrates how the perceptions of these fears and risks not only affected the ways individuals cared for their bodies, but also influenced Roman culture on a much greater scale. Freidin explores this against the backdrop of the Julian laws, which were introduced in 18BC by Rome's first emperor, Augustus, and were meant to guard against the perceived risk that women - and elites generally - might avoid childbearing. They formed part of an ideology of family values, central to imperial messaging for the next three hundred years. From elite medical treatments to birth charms to metaphorical language used by ancient authors to describe birth, Freidin marshals a wide range of evidence and theoretical frameworks to explore both the construction and distribution of risk in a deeply patriarchal, imperialist culture, one in which an ideology of fertility and control confronted the unpredictability of the environment and which, in turn, shaped Roman views of risk as they expanded their empire. Mistakes, misfortunes, and interventions in the reproductive process were seen to have far-reaching consequences, reverberating for generations, altering the course of people's lives, their family history, and even the fate of an empire"--
The importance of personal storytelling in contemporary culture and politics In an age where our experiences are processed and filtered through a wide variety of mediums, both digital and physical, how do we tell our own story? How do we “get a life,” make sense of who we are and the way we live, and communicate that to others? Stories of the Self takes the literary study of autobiography and opens it up to a broad and fascinating range of material practices beyond the book, investigating the manifold ways people are documenting themselves in contemporary culture. Anna Poletti explores Andy Warhol’s Time Capsules, a collection of six hundred cardboard boxes filled with text objects from the artist’s everyday life; the mid-aughts crowdsourced digital archive PostSecret; queer zine culture and its practices of remixing and collaging; and the bureaucratic processes surrounding surveillance dossiers. Stories of the Self argues that while there is a strong emphasis on the importance of personal storytelling in contemporary culture and politics, mediation is just as important in establishing the credibility and legibility of life writing. Poletti argues that the very media used for writing our lives intrinsically shapes how we are seen to matter.
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