Bøker utgitt av Goldsmiths, Unversity of London

"An original interpretation of the neoliberal order's origins, The Marketizers is essential reading for anyone seeking to understand the marketization of politics since the 1980s. The Marketizers traces the origins of the neoliberal order to public choice theory. It argues that the reinvention of government on the model of the market would have been unimaginable without the emergence of this body of thought. The separation of provision and production in public services, the introduction of competition between service providers, the treatment of citizens as customers, and the use of performance incentives all derive from the writings of public choice theorists. From the 1940s through the 1980s, these marketizers gradually eroded the differences between politics and the market as they applied the tools of economics to problems usually considered the purview of political scientists and political philosophers. In response to the extraordinary postwar growth in American public expenditures, they reimagined politics as a marketplace, redefined the relationship between the state and its citizens as a commercial transaction between a firm and its customers, and argued for the marketization of government." -- Book jacket.

An original examination of the ubiquity of glitter—from bodily adornment to activist glitter bombing—and its vibrant and transformational properties.Glitter is everywhere, from crafting to makeup, from vagazelling to glitter-bombing, from fashion to fish. Glitter also gets everywhere. It sticks to what it is and isn't supposed to, and travels beyond its original uses, eliciting reactions ranging from delight to irritation. In Glitterworlds, Rebecca Coleman examines this ubiquity of glitter, following it as it moves across different popular cultural worlds and exploring its effect on understandings and experiences of gender, sexuality, class and race. Coleman investigates how girls engage with glitter in collaging workshops to imagine their futures; how glitter can adorn the outside and the inside of the body; how glitter features in the films Glitter and Precious; and how LGBTQ* activists glitter bomb homophobic and transphobic people.Throughout, Coleman attends to the plurality of politics that glitter generates, approaching this through the concepts of hope, wonder, fabulation, and prefigurative politics—all of which indicate the making of different, better worlds, although often not in ways that are straightforward or conventional. She develops an original account of future politics, where time is nonlinear and sometimes non-progressive. Coleman's argument brings together feminist cultural theory, feminist new materialisms, and theories on futures and temporality, in order to propose that we should understand glitter as a thing—vibrant, processual, transformational, and traversing boundaries between media and material, culture and nature, bodies and environments.

An exploration of the rich and varied relationship between photography and the most recent Argentine dictatorship.Familiar Faces offers a diverse, theoretically rich, and empirically informed exploration of photography in Argentina’s memorial, political, and artistic landscape. During the country’s most recent civic-military dictatorship (1976–1983), 30,000 people were disappeared or killed by the state. Over the decades, vernacular and professional photographs have been central to the Argentine struggle for justice. They were used not only to protest the disappearances under the dictatorship and to denounce the authorities, but also as tools of political and social activism, and for remembering the disappeared.With contributions from leading Argentina-based anthropologists, ethnographers, curators, art scholars, media researchers, and photographers, Familiar Faces moves beyond the traditional considerations of representation, focusing instead on the ways in which photography is continuously reimagined as a tool of memory, mourning, and political and judicial activism. In so doing, it considers the diverse uses of press photography; artistic practice; photographs of the disappeared in domestic rituals; photographs of the inmates of torture centers; the reclamation of images taken by the dictatorial state for memorial and activist purposes. Written and published at a crucial moment in Argentine memory politics, Familiar Faces offers a geographically and formally diverse selection of case studies, with international as well as regional resonance. While firmly rooted in this national context, the book contributes to wider, global debates about the increasingly pervasive role of the photographic image in relation to state-sponsored, large-scale violence.

A poverty-stricken veteran of online social justice battles joins with a group of unlikely allies to fight in the war of disinformation before Britain becomes fully totalitarian.The lives of three strangers intersect to bring hope to a beleaguered near-future Britain lurching towards authoritarianism.Libby Seymour is a Civil Servant, military intelligence analyst, Union activist, believer in the equality of justice, and member of the MayGE Committee campaigning for a long-overdue General Election. A colleague tells her the police want a word about something she didn’t do… and she goes on the run with the help of her occasional lover, ex-army doctor, now trauma therapist, Susan Church. Derek Hallett is a British Army officer with an impressive record in special operations. Newly promoted to Major General, he is stunned to be assigned to a secretive job in England. For commercial reasons, Jackson-Burgess (UK) Ltd steps back from administering four work camps designed to reduce poverty in Britain. He swore to the Crown to uphold the rule of law.Kayla Nettleton has two lives. Online, she’s a veteran Cultural Warrior and defender of social justice through hacking. In real life, she’s trapped with her family in a sink estate, and is swept up into the poverty eradication programme run by Jackson-Burgess. Together, the three unlikely allies spearhead a small resistance group to fight back in the Disinformation War.

A guide to the doing of critical and creative research with a range of unusual means to apprise places and build ethical relationships.This catalogue of methods draws on the wealth of cutting-edge critical and creative social research from the Goldsmiths Sociology Department to offer an engaged guide to doing research with a range of unexpected relations. The collection focuses on multiple assemblages of objects, media, materials, practices, relations, devices, and atmospheres, spanning methods and topics involving food to activism, knitting to ghosts, theater to documents, collaging to corridors. Through hands-on discussions of the practicalities, ethics, and politics of doing social research, the catalogue showcases a wide range of examples of what methods might mean and do. It builds a case for an understanding of contemporary social research as interdisciplinary, responsive, dynamic, vital, and urgent in studying and shaping social worlds. Goldsmiths Sociology Department is internationally recognized as being at the forefront of some of the most daring, original and unconventional methodological innovation. Their unbounded approach to social research offers textured yet clear paths through the problems and issues before us, as contributors present the methodological puzzles they have become knotted with. The short and imaginative case studies offer new ways of teaching, learning, and doing lively and rigorous research. This is research as close-up observations, infrastructural interventions and imaginative play. How to Do Social Research With … will be essential for anyone interested in expanding their repertoire of social research methods.

An investigation of the cultures and technologies of early radio and how a generation of cultural operators—with Schoen at the center—addressed crisis and adversity.Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might.Dissonant Waves tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises.An exploration of the ripples of radio waves, the circuits of experimentation and friendship, and the proposals that half-found a route into the world—and might yet spark political-technical experimentation.

A science-fiction novel involving clones, a psychic, and empathy as a recreational drug.We have always been we. Then they forced us to become you and I…Empathy consists of two stories told in parallel. Vuong is one of five Vietnamese clones that have come of age at 25. The Department in Hanoi is allowing them to meet after being separated for twenty years. Lian has murdered her foster father after being forced to eat meat. Geraldine is dying of cancer in Australia. Giang and Khanh were brought up together as twins in New Zealand and are telepathic. They have been used for research over their lifetimes. Vuong discovers that the data kept on all of them has been used to develop empathy, the latest party drug.My meets Truong in Berlin who introduces her to empathy which makes the user supersensitive to other people's feelings. My's mother is a cleaner at CHESS, a multinational chemical company, and My comes to believe her mother is ex-Stasi and an industrial spy for Vietnamese government. My comes down from the drug after hearing about the saturation point when the penetration of empathy would be such that the world's population would be pacified. She discovers that Truong is actually the one who is in the pay of the Vietnamese government and her mother is just a cleaner. She tries to out the conspiracy in the media but no one believes her…

"Poems about historical women in STEM fields. Hilarious, heart-breaking, and perfectly pitched, these carefully researched poems about historical women in science, technology, engineering, mathematics, and medicine will bring you to both laughter and outrage in just a few lines. A wickedly funny, feminist take on the lives and work of women who resisted their parents, their governments, the rules and conventions of their times, and sometimes situations as insidious as a lack of a women's bathroom in a college science building."--

A feminist analysis of young women and popular culture and a forceful critique of male domination in youth culture.Feminism, Young Women and Cultural Studies: Birmingham Essays from 1975 Onwards by Angela McRobbie brings together the Birmingham University Centre for Contemporary Cultural Studies (CCCS) essays of the 1970s and ‘80s with a new introductory chapters and four new chapters of updated analysis on music, magazines, vintage fashion and youth culture. The early work provides both a feminist analysis of young women and popular culture as well as a forceful critique of male domination in youth culture and the ways in which an ideology of adolescent femininity functioned so as to subdue and restrain young women in passive and subordinate gender unequal positions. These chapters also shine a light on the kinds of methodologies being developed at Birmingham University CCCS as cultural studies was emerging as a distinct field of study. These essays when first published found their way onto the university undergraduate curriculum across the world and were translated into many languages. Adopting an intersectional perspective and engaging with questions such as the “category of the girl,” the new chapters extend the field of study in a lively and accessible sociological voice. The book will be of keen interest for students in Sociology, Media and Cultural Studies and Literary Studies.

A lively and polemical analysis of photography and today's vernacular photographic culture.In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google "Scan-Ops,"low-paid gallery interns, homeless participant photographers, and the photo-sharing masses.

How artificial intelligence and robotics are transforming the future of love and desire: a philosophical thriller and essays.A chance encounter between two women and a road trip into the future: It''s Christmas Eve, and Scarlett, banker-turned-technologist, is leaving a secret underground lab to catch the last flight that will get her home in time to open presents with her three-year-old son. She offers a lift to a young woman in distress, who shares her intimate life story as they drive to the airport. These revelations will have devastating consequences for both of them. The Love Makers is a philosophical thriller about female friendship, class, motherhood, women, and work--and how artificial intelligence and robotics are transforming the future of love and desire. Aifric Campbell combines her novel with essays from leading scientists and commentators who examine what''s at stake in our human-machine relationships. What is our future as friends, parents, lovers? Will advances in intelligent machines reverse decades of progress for women? From robot nannies to generative art and our ancient dreams of intelligent machines, The Love Makers blends storytelling with science communication to investigate the challenges and opportunities of emergent technologies and how we want to live. ContributorsRonny Bogani, Joanna J. Bryson, Julie Carpenter, Stephen Cave, Anita Chandran, Peter R. N. Childs, Kate Devlin, Kanta Dihal, Mary Flanagan, Margaret Rhee, Amanda Sharkey, Roberto Trotta, E. R. Truitt, and Richard Watson

The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period.This book considers the politics of race in British screen culture over the last thirty years, addressing the institutional, textual, cultural, and political shifts that have occurred during this period. An edited collection of essays by Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford, it offers a diverse range of responses from emerging and established scholars and practitioners. They explore these topics through the optic of film, TV, moving image, from the perspectives of media and communications, sociology, politics and cultural studies.ContributorsBidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford

An analysis that traces the role of digital technology in multiplying precarity.Technoprecarious advances a new analytic for tracing how precarity unfolds across disparate geographical sites and cultural practices in the digital age. Digital technologies—whether apps like Uber, built on flexible labor, or platforms like Airbnb that shift accountability to users—have assisted in consolidating the wealth and influence of a small number of players. These platforms have also exacerbated increasingly insecure conditions of work and life for racial, ethnic, and sexual minorities; women; indigenous people; migrants; and peoples in the global south. At the same time, precarity has become increasingly generalized, expanding to include even the creative class and digital producers themselves. This collaboratively authored multigraph analyzes the role of digital technology in multiplying precarity. The authors use the term precarity to characterize those populations disproportionately affected by the forms of inequality and insecurity that digital technologies have generated despite the new affordances and possibilities they offer. The book maps a broad range of digital precarity—from the placement of Palestinian Internet cables to the manufacture of electronics by Navajo women and from the production and deployment of drones on the U.S.-Mexico border to the technocultural productions of Chinese makers. This project contributes to, and helps bridge, ongoing debates on precarity and digital networks in the fields of critical computing, postcolonial studies, visual culture, and information sciences.

An illustrated history of the evolution of British women's cycle wear.The bicycle in Victorian Britain is often celebrated as a vehicle of women's liberation. Less noted is another critical technology with which women forged new and mobile public lives—cycle wear. This illustrated account of women's cycle wear from Goldsmiths Press brings together Victorian engineering and radical feminist invention to supply a missing chapter in the history of feminism.Despite its benefits, cycling was a material and ideological minefield for women. Conventional fashions were unworkable, with skirts catching in wheels and tangling in pedals. Yet wearing "rational” cycle wear could provoke verbal and sometimes physical abuse from those threatened by newly mobile women. Seeking a solution, pioneering women not only imagined, made, and wore radical new forms of cycle wear but also patented their inventive designs. The most remarkable of these were convertible costumes that enabled wearers to transform ordinary clothing into cycle wear.Drawing on in-depth archival research and inventive practice, Kat Jungnickel brings to life in rich detail the little-known stories of six inventors of the 1890s. Alice Bygrave, a dressmaker of Brixton, registered four patents for a skirt with a dual pulley system built into its seams. Julia Gill, a court dressmaker of Haverstock Hill, patented a skirt that drew material up the waist using a mechanism of rings or eyelets. Mary and Sarah Pease, sisters from York, patented a skirt that could be quickly converted into a fashionable high-collar cape. Henrietta Müller, a women's rights activist of Maidenhead, patented a three-part cycling suit with a concealed system of loops and buttons to elevate the skirt. And Mary Ann Ward, a gentlewoman of Bristol, patented the "Hyde Park Safety Skirt,” which gathered fabric at intervals using a series of side buttons on the skirt. Their unique contributions to cycling's past continue to shape urban life for contemporary mobile women.

The first monograph on the work of artist Tony Cokes, creating a visual cartography of a body of moving image work that spans twenty years.Tony Cokes's video works are eviscerating critiques and affective art works, bringing together color theory, sound, music, and texts, and quoting a polyphony of voices including Aretha Franklin, Mark Fisher, David Bowie, Public Enemy, and Donald Trump. Combining political and social commentary with cultural theory and a critique of capitalism, Cokes's works viscerally confront the social condition, particularly the prejudices and threats suffered by black subjects. This book is the first monograph on his practice, creating a visual cartography of a body of work that spans twenty years.It features four critical pathways into Cokes's decades-long practice, with essays contributed by notable academics, and conversations between Cokes and artist Kerry Tribe. Cokes's work deals with mediation and distribution, and the book itself becomes another conduit for the dissemination of theory, critique, and counter-narrative—a process that Cokes so powerfully engages in as an artist.This book accompanies Cokes's solo exhibition, If UR Reading This It's 2 Late: Vol. 1–3, across three international art institutions: Goldsmiths Centre for Contemporary Art, London; Carpenter Center for the Visual Arts, Harvard University; and ARGOS centre for audiovisual arts, Brussels.ContributorsDan Byers, Tony Cokes, Christoph Cox, Denise Ferreira da Silva, Sarah McCrory, Sohrab Mohebbi, Kerry Tribe, Niels Van Tomme

Key work by the artist Alexis Hunter.Sexual Warfare presents key work by Alexis Hunter (1948-2014), an influential figure in the Women's Artstrength, made between 1968 and 1986. The first solo presentation of Hunter's work in the UK since 2006, and in London since 1981, the exhibition brings her acerbic critique into dialogue with the contemporary moment and reinforces her importance The publication features essays by Dr Althea Greenan, Special Collections Curator at the Women's Art Library and Amy Tobin, Lecturer in the History of Art. Curator of Exhibitions, Events and Research at Kettle's Yard.

A visually striking intercultural exploration of the use of mobile phones in Aboriginal communities in Australia. Yuta is the Yolngu word for new. Phone & Spear: A Yuta Anthropology is a project inspired by the gloriously cheeky and deeply meaningful audiovisual media made with and circulated by mobile phones by an extended Aboriginal family in northern Australia. Building on a ten-year collaboration by the community-based arts collective Miyarrka Media, the project is an experiment in the anthropology of co-creation. It is a multivoiced portrait of an Indigenous society using mobile phones inventively to affirm connections to kin and country amid the difficult and often devastating circumstances of contemporary remote Aboriginal life.But this is not simply a book about Aboriginal art, mobile phones, and social renewal. If old anthropology understood its task as revealing one world to another, yuta anthropology is concerned with bringing different worlds into relationship. Following Yolngu social aesthetics—or what Miyarrka Media translate as "the law of feeling”—the book is a relational technology in its own right: an object that combines color, pattern, and story to bring once distant worlds into new sensuously mediated connections.

An alternative view of the North West of England that delves into its stranger past. I Hate the Lake District offers a different vision of the rural environment from those found in much contemporary nature writing. Based on the author's trips around North West England, the book engages with nuclear power and nuclear war, slavery, imperialism, ghosts, love, God, cockroaches, and the sheer violence and contingency of "nature” itself—of which the human presence is merely a part. Each chapter starts with an account of a visit to a place in this remote part of England, the deep north, but digresses and wanders through multifarious themes and subjects. Among the sites Gere visits are the defunct nuclear power station at Sellafield, home of all British nuclear waste; Lake Coniston, where Donald Campbell died trying to break the water speed record; Hadrian's Wall, furthermost reach of the Roman Empire; the mysterious and deathly Morecambe Bay; sites of slavery in the North West; places where UFOs have been sighted, avant-garde artists created work, and Islamic terrorists trained; shantytowns where the navvies who built the railways lived with their families; and even the remains of Blobbyland in Morecambe. In I Hate the Lake District, Gere challenges the bourgeois pastoralism of popular nature writing and reveals the landscape of North West England as profoundly unnatural and strange.