In-Credible Wealth And Panic In The New Economy

Capital and Language: From the New Economy to the War Economy by Christian Marazzi. Trans. by Gregory Conti. (Los Angeles: Semiotext(e), 2008. Pp. 180. $14.95 paper.

Art and money: Three aesthetic strategies in an age of financialisation

Recent decades of financialisation have seen a significant growth in art that mobilises various forms of money as artistic media. These range from the integration of material money (coins, bills, credit cards) into aesthetic processes, such as sculpture, painting, performance, and so on, to a preoccupation with more ephemeral thematics including debt, economics, and the dynamics of the art market. This article explores three (and a half) strategies that artists use to engage with money: crass opportunism; a stark revelation of money’s power; a coy play with art’s subjugation to money; and a more profound attempt to reveal the shared labour at the heart of both money and art’s aesthetic-political power. Money’s perennial appeal to artists stems from the irony of its tantalising capacity to almost represent capitalist totality. At their core, both money and art are animated by a certain creative labour, a suspension of disbelief, and a politics of representation. Artistic practices that use money can provide critical resources for studying, understanding, and seeing beyond the rule of speculative capital

Colonial Debts, imperial insolvencies, extractive nostalgias

This special section of Discover Society emerges from a two-day gathering of scholars, activists and artists dedicated to the theme at Goldsmiths, University of London, in September of 2017. Its inspiration comes from a certain frustration with the emergent interdisciplinary field of critical finance studies, which, regrettably (and with some noble exceptions), has not yet elected to enter into a vibrant dialogue with fields such as post-colonial criticism, critical race studies and settler-colonial studies. We believe such an avoidance is tragic, given not only the vibrancy of all of these fields but also the reality that many of the phenomena associated with finance, finance capital and financialization cannot be fully understood without reference to imperial, colonial and racialized realities, past and present

A Soft Spot in a Hard Place

A Soft Spot in a Hard Place, edited by Zachary Gough with Thomas Gokey, Max Haiven, and Cassie Thornton, is a small collection of texts and conversations that contributes to the project of understanding how creativity, art, and the imagination might help us refigure our relationship to money, debt, capitalism, and our economic lives as a whole. This book is part of the Reference Points series published through Portland State University Art and Social Practice MFA Program. The series is an evolving pedagogical framework in which graduate students formulate and research a significant topic or practitioner(s) related to socially engaged art. Because the series is designed to shift and respond to the concerns of the program\u27s current students and faculty, mode, structure, and content are open-ended.https://pdxscholar.library.pdx.edu/reference_points/1010/thumbnail.jp

Über die University of the Phoenix

Wir haben die folgenden 13 Protokolle als Methodik entwickelt, die als Orientierungshilfe bei der Entstehung unserer Workshops und Interventionen dient

Outside but Along-Side: Stumbling with Social Movements as Academic Activists

In this article, we critically reflect on the production and measurement of ‘success’ and ‘failure’ both in social movements and social movement research. We do so by focusing on the Radical Imagination Project, an experiment in politically engaged, ethnographically grounded social movement research we have sustained in Halifax, Nova Scotia since 2010. We discuss our methodological strategy of ‘convocation,’ distinguishing it from other social movement research approaches, and reflect on the difficulties inherent in practicing these methods within the austere realities and pressures of the neoliberal university. We explore the ways in which the particular complexities of the fraught field and habitus of the would-be academic­activist might be critically assessed and best mobilized to assist in the reproduction of movements, without also unduly reproducing the neoliberal university or its architectures of privilege and power

Outside but Along-Side: Stumbling with Social Movements as Academic Activists

In this article, we critically reflect on the production and measurement of ‘success’ and ‘failure’ both in social movements and social movement research. We do so by focusing on the Radical Imagination Project, an experiment in politically engaged, ethnographically grounded social movement research we have sustained in Halifax, Nova Scotia since 2010. We discuss our methodological strategy of ‘convocation,’ distinguishing it from other social movement research approaches, and reflect on the difficulties inherent in practicing these methods within the austere realities and pressures of the neoliberal university. We explore the ways in which the particular complexities of the fraught field and habitus of the would-be academic­activist might be critically assessed and best mobilized to assist in the reproduction of movements, without also unduly reproducing the neoliberal university or its architectures of privilege and power