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Workers Leaving the Studio catalogs the exhibition "Workers leaving the studio. Looking away from socialist realism," curated by Mihnea Mircan in the National Gallery of Arts in Tirana, Albania in 2015. According to Mircan, "The [...] exhibition reflects on another projection machine, whose history and consequences, unlike cinema, are circumscribed by national boundaries, specific histories, and ideological configurations. The regime of production and representation of socialist realism radicalizes the violence that the creation of a new image does to its subject: it intensifies the fraught relation between refashioned representation and that which is represented. Its insistence on a particular, projective notion of reality is commensurate with the coercion of daily - cultural, social, emotional - life into a grid whose perspective lines and vanishing points carry heavy ideological charges. It enforces what it represents onto that which it represents, so that representation would replace reality."Apart from a full documentation of the exhibition by photographer Marco Mazzi, the catalogue also features theoretical and art-historical contributions, both in English and in Albanian, on socialist realist art as developed in Albania under the communist regime, as well as texts highlighting contemporary attempts to display political realities through progressive artistic practices. Artists include: Santiago Sierra, Jonas Staal, Ciprian Muresan, Irwin, Sarah Vanagt, and Armando Lulaj, with scholarly contributions by -Artan Shabani, "Parathenie" // Mihnea Mircan, "Curatorial Note" // Raino Isto, "Sali Shijaku's Zeri i Mases and the Metaphysics of Representation in Albanian Socialist Realist Painting" // Jonas Staal, "Stateless Democracy" // Suzana Varvarica Kuka, "Nje kohe e shkuar ne themel te kohes sone" // Inke Arns, "The Nigerian Connection: On NSK Passports as Escape and Entry Vehicles" // Sarah Vanagt & Tobias Hering, "Disturbed Earth" // Alban Hajdinaj, "Ilustrimi i instruksioneve ose Gjigandi dhe Shkurtabiqi" // Vincent W.J. van Gerven Oei, "The Production of Hronir: Albanian Socialist Realism and After"

"There is much to like about a book which gets real about the male anus as a site of penetrability which is not reducible to discourses of feminization, phallicization or psychosis. With real panache and poetic flair, it returns us to an earlier moment in queer theoretical discourse we would associate with Lee Edelman's Homographesis (easily the best book ever written in queer theory and every page of The Penetrated Male reminded me of it), Calvin Thomas' Male Matters, and Leo Bersani's "Is the Rectum a Grave?" Given the recent squeamishness ... in queer theoretical circles about shit, anality, and penetrability, there is real value (and it is not some sort of nostalgia for an earlier moment we might want to get back to) in this book which never shies away from any of these matters. As embodied and eroticized theory, it fills a much needed hole in contemporary discourse about the male body. It is a book I should like to have written." (Michael O'Rourke)Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber's Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies.

Benjamin Christensen's 1922 Swedish/Danish film Häxan (known under its English title as Witchcraft Through the Ages) has entranced, entertained, shocked, and puzzled audiences for nearly a century. The film mixes documentary with fantasy, history with theatrics, religion and science, the medieval past and modern culture. This uncanny content is compounded by the film's formal strangeness, a mixture of quasi-documentary with fictional episodes, illustrated lectures alongside docudrama recreations and dreamscapes. Is this a documentary, a horror flick, or both? In this chapbook, authors Doty and Ingham argue that the puzzle of Christensen's Häxan might be unraveled by attending to the film's provocative and paradoxical medievalism, its fantasmatic rendering of the witch as a medieval monster. Such monstrous medievalism, moreover, sheds considerable light on the politics of gender and culture once the witch is rendered a female figure in a time-out-of-joint.

Although widely beloved for its playfulness and comic sensibility, Chaucer's poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an assortment, if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark.Contents: Candace Barrington, "Dark Whiteness: Benjanim Brawley and Chaucer" -- Brantley L. Bryant & Alia, "Saturn's Darkness" -- Ruth Evans, "A Dark Stain and a Non-Encounter" -- Gaelan Gilbert, "Chaucerian Afterlives: Reception and Eschatology" -- Leigh Harrison, "Black Gold: The Former (and Future) Age" -- Nicola Masciandaro, "Half Dead: Parsing Cecelia" -- J. Allan Mitchell, "In the Event of the Franklin's Tale" -- Travis Neel & Andrew Richmond, "Black as the Crow" -- Hannah Priest, "Unravelling Constance" -- Lisa Schamess, "L'O de V: A Palimpsest" -- Myra Seaman, "Disconsolate Art" -- Karl Steel, "Kill Me, Save Me, Let Me Go: Custance, Virginia, Emelye" -- Elaine Treharne, "The Physician's Tale as Hagioclasm" -- Bob Valasek, "The Light has Lifted: Pandare Trickster" -- Lisa Weston, "Suffer the Little Children, or, A Rumination on the Faith of Zombies" -- Thomas White, "The Dark Is Light Enough: The Layout of the Tale of Sir Thopas." This assortment of dark morsels also features a prose-poem Preface by Gary Shipley.

The death by suicide of Gary J Shipley's close friend, Conrad Unger (writer, theorist and amateur entomologist), has prompted him to confront not only the cold machinery of self-erasure, but also its connections to the literary life and notions surrounding psychological bewitchment, to revaluate in both fictional and entomological terms just what it is that drives writers like Unger to take their own lives as a matter of course, as if that end had been there all along, knowing, waiting. Like Gérard de Nerval, David Foster Wallace, Ann Quin and Virginia Woolf before him, Unger was not merely a writer who chose to end his life, but a writer whose work appeared forged from the knowledge of that event's temporary postponement. And while to the uninitiated these literary suicides would most likely appear completely unrelated to the suicide behaviors of insects parasitized by entomopathogenic fungi or nematomorpha, within the pages of this short study we are frequently presented with details that allow us to see the parallels between their terminal choreographies. He investigates what he believes are the essentially binary and contradictory motivations of his suicide case studies: where their self-dispatch becomes an instance of necro-autonomy (death as solution to an external thraldom, or the zombification of everyday life as something requiring the most extreme form of emancipation), while in addition being an instance of necro-equipoise (death as solution to an internal thraldom, or the anguish of no longer being able to slip back comfortably inside that very everydayness). The deadening claustrophobia of human life and achieving a stance outside of it: both barbs on the lines that can only ever detail the sickness, never cure it. Through extracts and synopses of Unger's books, marginalia and underscorings selected from his extensive library, and a brief itinerary of his movements in that last month of exile, a picture of the writer's suicidal obsession begins to form, and it forms at the expense of the man, the idea eating through his brain like a fungal parasite, disinterring the waking corpse to flesh its words.

Manuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton's library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century-the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight. All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream.

On the unstable boundaries between "interior" and "exterior," "private" and "public," and always in some way relating to a "beyond," the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature -- from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth -- reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola.

"In this speculative venture avatars and scenarios proliferate and spin out as redundant probe-heads from the central processing machine that is Capital. Indeed, such a book as this accelerates the process. Here one finds characters composed of advertising refrains and slogans, cruising the mediascape, guided by a telematics standardization that manifests itself in brands and slogans, fast-food outlets and jousting tournaments. This book speaks of consumers and commodities that move at a pace which outruns the regulative speeds of the market, but that also move slower. Is this the future of Capital? If it is, then it is also its past. A court sub specie aeterni." Simon O'SullivanNeomedievalisms are cultural practices that breathe a bouquet of premoderns as permanent rehearsals of coming events. Where medievalists may be prone to police the post-medieval weald for 'inauthentic' medievalisms, neomedievalists embrace the articulation and mobilisation of metahistorical 'anachronisms'. To the medievalist, medievalisms provide powerful indexes that reveal how post-medieval societies have variously imagined 'little middle ages' to suit modern agendas. To the neomedievalist, medievalisms are theory-fictions that facilitate ludic speculation on non-modern futurities.While neomedievalist theories have emerged in a variety of fields since the early 1970s - notably in cultural studies of medievalisms, international relations and literary theory - there are few applications that synthesise and put the methodologies of these diverse fields into practice. thN Lng folk 2go applies this extant scholarship as an extradisciplinary practice, dramatising the neomedieval turn in (quasi)objects, persons, work, education, travel, food, ethnicity, media, art, hypereconomics and technology. This speculative journey is ghost authored by a trinity of neomedievalist narrators - Journeyman, Anchorite and Host - each relic-ing their own curious neomedieval futurities.Drawing its heterogeneous approaches from studies in medievalisms, international relations, literary theory, actor-network theory, anthropology, hypereconomics, art history, aesthetics, ecology, cultural theory, cultural geography, ambience, speculative realism and future studies - thN Lng folk 2go is both an investigation of and a benefaction to a murmuration of neomedievalisms.thN lng flk 2go iz an boke in fif bokes: I. L'Amérique SouterraineDis earste dale speketh iter pro peregrinis ad metro. Dis boc iz todealet in fif leasse bokes ov journie-men Gambini's 2 doze hu Lng 2 g0. Iz earste riwle ant ov swucche thinges az duble homo-feaste, drunch ant werke, ant iz ov othre (dug-heids) ant quazi-thinges.II. Imperium et SacerdotiumDis other dale speketh ov nuncii ant procuratores, ov assemblies ant crusades.III. The Journeyman's Guide to AnchoritismDis thridde dale iz'ov translatione corporis. Dis dale iz ov customz, liturgica, blak noiz, ant self-discipline ov d post-homo man-thinge. Dis boc iz todealet in thri leasse bokes ov ancre's wittes.IV. xyzzy: Contemporary Art Before and After BritainDis feorthe dale iz'ov beatific ant ov swucche thinges az doth come from the eye's arrows. Ad te levavi.V. When Transfiguration Became CommonplaceDis fifte dale speketh ov host. Dis dale is al of the thridde riwle, wen translatione bcAM hyper-economicus.

In June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945-1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country --- in cities and villages, alongside roads, in forests and on mountain passes --- are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called "monumental propaganda." The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945-1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volumes 2 and 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.Table of ContentsVolume 1: TEXTS: Vincent W.J. van Gerven Oei // Introduction -- People's Republic of Albania, Ministry of Education, Directorate of Culture // Circular to the Prefectural Executive Committee (Section Education): Regarding Lapidars (1946) -- Ramiz Alia // Report on the State and Measures for the Development and Further Revolutionizing of Monumental Propaganda (1968) -- Kujtim Buza & Kleanth Dedi // Dignified Symbols for Historical Events (1971) -- Muharrem Xhafa // Natural and Cultural Monuments during the Years of Socialism -- Gëzim Qëndro // The Thanatology of Hope -- Raino Isto // "We Raise Our Eyes and Feel as if She Rules the Sky" The Mother Albania Monument and the Visualization of National History -- Kosta Giakoumis & Christopher Lockwood // Pilgrimage Centered at Text and Memory: The Lapidar in Qukës-Pishkash -- Matthias Bickert // Lapidars and Socialist Monuments as Elements of Albania's Historic Cultural Landscapes -- Julian Bejko // About the Film Lapidari -- Ardian Vehbiu // Texts Chiseled on the Calendar: A Semiotic Reading of Inscriptions on the Commemorative Monuments for the Period of the National Liberation War -- Monument Descriptions: Index of Names, Index of Places, Index of DatesVolumes 2-3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi.

In the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse's "gay lifestyle." Where many scholars of the Middle Ages would "get in from behind" on cultural history, Strouse instead does a "reach around." He eschews academic "queer theory" as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of "gross indecency"). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval."Today, almost nobody reads Boethius, which if you ask me is a crying shame. Because Boethius is so gay. First of all, the heroine of the Consolation is this great big fierce diva, whose name is Lady Philosophy. She's a Lady, and she doesn't stand for anybody's crap. At the beginning of the book, Boethius is crying, all alone in prison, depressed that he's lonely and loveless and is going to be killed. Lady Philosophy descends from the heavens, à la Glinda the Good Witch in The Wizard of Oz. The first thing Boethius notices about her is that she's wearing an amazing dress with Greek letters embroidered on it-they stand for practical and theoretical philosophy. Her dress has been torn to shreds by the hands of uncouth philosophers. They didn't know how to treat a lady." (from "My Boethius")TABLE OF CONTENTS // The Most Famous Medievalist in the World - My Boethius - Memory Houses - The President of the Medieval Academy Made Me Cry - My Medieval Romance - The Formation of a Persecuting Society - The Medieval Heart is Like a Penis - Jilted Again - My Orpheus - Medieval Literacy - My Cloud of Unknowing - The Post-Medieval Unconscious - Coda: The Dedication

An epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us desperately in the same place at the same time. Opioid epidemic thus names a present historic and historical moment centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism and a set of repeated neurological activities and human loss and desire that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within-biologically within-this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between "pain patients" and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences the material proximities of an epidemic?How do you live with something for a long time?

Proceedings from two Speculative Medievalisms symposia, held at King's College London (Jan. 2011) and The Graduate Center, City University of New York (Sep. 2011), and organized by The Petropunk Collective (Eileen Joy, Anna Klosowska, Nicola Masciandaro, and Michael O'Rourke). These interdisciplinary events were dedicated to dialogue and cross-contamination between traditional concepts of speculatio, present-minded premodern studies, and contemporary speculative realist and object-oriented philosophies. In its medieval formulation, speculatio signifies the essentially reflective and imaginative operations of the intellect. Here the world, books, and mind itself are all conceived as specula (mirrors) through which the hermeneutic gaze can gain access to what lies beyond it. "To know is to bend over a mirror where the world is reflected, to descry images reflected from sphere to sphere: the medieval man was always before a mirror, both when he looked around himself and when he surrendered to his own imagination" (Giorgio Agamben, Stanzas). Correlatively, speculative realism, as the term suggests, is characterized by the self-contradictory intensity of a desire for thought that can think beyond itself - a desire that proceeds, like all philosophy, in a twisted and productive relation to the phantasm of the word. Aiming to rise above and tunnel below the thought-being or self-world correlation, speculative realism "depart[s] from the text-centered hermeneutic models of the past and engage[s] in daring speculations about the nature of reality itself" (The Speculative Turn). Speculative Medievalisms, like some weird friar-alchemist in an inexistent romance, plays the erotic go-between for these text-centered and text-eccentric intellectual domains by trying to transmute the space between past and present modes of speculation from shared blindness to love at first sight. Possibly succeeding, the volume brings together the work of a motley crew of philosophers and premodernists into prismatic relation.Contents: Kathleen Biddick, "Toy Stories: Vita Nuda Then and Now?" - Jeffrey Jerome Cohen, "Sublunary" - Graham Harman, "Aristotle With a Twist" - Anna Klosowska, "Transmission by Sponge: Aristotle's Poetics" - J. Allan Mitchell, "Cosmic Eggs, or Events Before Everything" - Kellie Robertson, "Abusing Aristotle" - Anthony Paul Smith, "The Speculative Angel" - Nick Srnicek, "Abstraction and Value: The Medieval Origins of Financial Quantification" - Eugene Thacker, "Divine Darkness" - Scott Wilson, "Neroplatonism" - Julian Yates, "Shakespeare's Kitchen Archives." With response and post-script essays by: Liza Blake, Patricia Clough, Drew Daniel, Eileen A. Joy and Anna Klosowska, Nicola Masciandaro, Michael O'Rourke, and Ben Woodard.

In this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today's key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself.

As capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied, confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources - what Shantz terms "infrastructures of resistance" - becomes apparent. Ecological disaster, economic crisis, political austerity, and mass-produced fear and phobia all require organizational preparation - the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism - an aspiration of mutual aid, sharing, and common good or common wealth collectively determined. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, because it returns to social struggle the emphasis on commonality - a common wealth - that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting - namely communism.In the current context, commonism, and the desire for commons, speaks to collective expressions against enclosure, now instituted as privatization, in various realms. While the central feature of capitalism is the commodity - a collectively produced good controlled for sale by private entities claiming ownership - the central feature of post-capitalist societies is the commons. These counter-forces have always been in conflict throughout the history of capitalism's imposition. And this conflict has been engaged in the various spheres of human life, as mentioned above. Commonism, (and commonist struggles), is expressed in intersections of sites of human activity and sustenance: ecological, social, and ideational. Examples of ecological commonism include conservation efforts, indigenous land reclamations and re-occupations (and blockades of development), and community gardens, to name only a few. Social commons include childcare networks, food and housing shares, factory occupations, and solidarity economics (including but not limited to community cooperatives). Ideational commons include creative commons, opens source software, and data liberation (such as Anonymous and Wikileaks). This becomes procreative or constructive. It provides a spreading base for eco-social development beyond state capitalist control. It also moves movements from momentary spectacles or defensive stances or reactive "fightbacks." Commonism affirms and asserts different ways of doing things, of living, of interacting.This book engages various commonist tendencies. It examines communism, including overlooked or forgotten tendencies. It provides an exploration of primitive accumulation and mutual aid as elements of struggle. Attention is given to constructive aspects of commonist politics from self-valorization against capital to gift economies against the market. It finally speaks to the need of movements to build infrastructures of resistance that sustain struggles for the commons. Written by a longtime activist/scholar, this is a work that will be of interest to community organizers and activists as well as students of social movements, social change, and radical politics. It will be taken up by people directly involved in specific community movements as well as students in a range of disciplines (including sociology, politics, geography, anthropology, cultural studies, and social policy). There is no book that offers such a concise, readable discussion of the issues in the current context, with particular emphasis on anarchist intersections with communism.

We live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of "less profitable" academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.This volume (presented in a dual-language English-Albanian edition) comprises papers culled from continent. journal's Pedagogies of Disaster conference held in Tirana, Albania, hosted by The Department of Eagles (Departamenti i Shqiponjave) in June 2013, and organized to address the fate of relation and the future of pedagogical practice in the University, and especially as it concerns the humanities. The papers gathered here seek to address the infrastructural or interpersonal changes in the modes of production as it relates to current academia, examining the elements and spaces of the rifts opening up in the polis of the University-its students, professors and administrators. The volume further addresses the pedagogical horizon at a critical limit, asking: for whom or for what are we teaching and from whom or from what are we learning?Vincent W.J. van Gerven Oei - Opening // Christopher Fynsk - A Pedagogy on the Verge of Disaster // Oliver Feltham - Desocializing the School: Education and the Action-Zone // Adam Staley Groves - Sandy Hook University: Poetic Violence, Scope, and Style of Imagination // Julia Hölzl - A Call for Thinking (The Disaster) // John Van Houdt - The Rhetoric of Disaster: Surviving the End of the Humanities // Vincent W.J. van Gerven Oei - A Passion for Yes: Coming Out and Affirmation // Edith Doron - Welcoming the Stranger: From Social Inclusion to Exilic Education // Urok Shirhan - Occupy Baghdad: On the Occupation of Images // Jonas Staal - Art After Democratism: The Pedagogy of the New World Summit // Katharina Stadler - "Reading on Disaster" Intervention: Imaginaries in Participatory Artistic Practice // Manifesto for Education in Albania // Andreas Vrahimis - Philosophy and Humanistic Education: J.S. Mill's Catastrophic Pedagogy // Matthew Charles - Walter Benjamin and the Inhumanities: Towards a Pedagogical Anti-Nietzscheanism // Nico Jenkins - Philosophy beyond the Peras: Thinking with/in the Periphery // Justin Joque - Cyber-Catastrophe: Towards a New Pedagogy of Entropy // Tijana Stevanovic - Faculty in Withdrawal: Not To Know and the Uncertainties of Self-Institutionalization // Denisa Kera - On Prototypes: Should We Eat Mao's Pear, Sail Saint-Exupery's Boat, Drink with Heidegger's Pitcher, or Use Nietzsche's Hammer to Respond to the Crisis? // Sina Badiei - The Necessity of Education: Or How Can One Still Be an Althusserian in the Wake of Badiou? // Nick Skiadopoulos - The University Must Be Transcended // Judith Balso - Compter sur l'impossible inexistant / To Rely on the Inexistent Impossible Constitution of Happiness // Jonida Gashi - Translator's Note

Is it possible for anarchism to think with the new ontologies and new materialisms, and is it possible to build a deeper anarchist philosophy which does not reduce the world to what it is for human animals within that world? Is it possible to think the question of a non-essentialist ontology? (Duane Rousselle and Jason Adams, "Anarchism's Other Scene")Radical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced "new materialisms," along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of ADCS, "Ontological Anarche: Beyond Materialism and Idealism," considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure.Ontological Anarche: Beyond Materialism and Idealism includes: EDITORS' INTRODUCTION: Duane Rousselle and Jason Adams, "Anarchism's Other Scene: Materializing the Ideal and Idealizing the Material"; ARTICLES: ONTOLOGICAL ANARCHE" Levi R. Bryant, "The Gravity of Things: An Introduction to Onto-Cartography" -- John W.M. Krummel, "Reiner Schurmann and Cornelius Castoriadis: Between Ontology and Praxis" -- Hilan Bensusan, "Polemos Doesn't Stop Anywhere Short of the World: On Anarcheology, Ontology, and Politics" -- Ben Woodard, "Schellingian Thought for Ecological Politics" -- Jason Harman, "Ontological Anarche: Beyond Arche & Anarche"; ARTICLES: ANARCHIST ONTOLOGY: Salvo Vaccaro, "Critique of Static Ontology and Becoming-Anarchy" -- Jared McGeough, "Three Scandals in the Philosophy of F.W.J. Schelling: Ontology, Freedom, Mythology" -- Joseph Christian Greer, "Occult Origins: Hakim Bey's Ontological Post-Anarchism" -- Tom Marling, "Anarchism and the Question of Practice: Ontology in the Chinese Anarchist Movement, 1919-1927" -- Gregory Kalyniuk,"Jurisprudence of the Damned: Deleuze's Masochian Humour and Anarchist Neo-Monadology"; REVIEW ESSAY: Shannon Brincat,"The Problem of an Anarchist Civil Society" -- Mohammed A. Bamyeh, "A Response to Shannon Brincat"; BOOK REVIEW: Anthony T. Fiscella, "Christian Anarchism"; INTERVIEW: Christos Stergiou interviews Levi Bryant.Anarchist Developments in Cultural Studies (ADCS), edited by Duane Rousselle and Sureyyya Evren, is an international, open-access journal devoted to the study of new and emerging perspectives in anarchist thought and practice from or through a cultural studies perspective. The interdisciplinary focus of the journal presumes an analysis of a broad range of cultural phenomena, the development of diverse methodological traditions, as well as the investigation of both macro-structural issues and the micrological practices of "everyday life." ADCS is an attempt to bring anarchist thought into contact with innumerable points of connection.

Radical Criminology, edited by Jeff Shantz [Kwantlen Polytechnic University, Vancouver, British Columbia], is dedicated to bridging the gap between the academy and the global activist community, especially with regard to state violence, state-corporate crime, the growth of surveillance regimes, and the prison-industrial complex. More pointedly, the journal aims to be not simply a project of critique, but is also geared toward a praxis of struggle, insurgence, and practical resistance. Issue 4 (Autumn 2014) is a special issue on "Public Criminology" edited by Justin Piché.TABLE OF CONTENTS: EDITORIAL / Jeff Shantz, "Going Forth" -- FEATURES: PUBLIC CRIMINOLOGY / Justin Piché, "Critical Reflections on 'Public Criminology': An Introduction" -- Andrew Woolford & Bryan Hogeveen, "Public Criminology in the Cold City: Engagement and Possibility" -- Carrie B. Sanders & Lauren Eisler, "The Public Would Rather Watch Hockey! The Promises and Institutional Challenges of 'Doing' Public Criminology within the Academy" -- Amanda Nelund, "Troubling Publics: A Feminist Analysis of Public Criminology" -- Nicholas Carrier, "On Some Limits and Paradoxes of Academic Orations on Public Criminology" -- ARTS / "Prisoner's Justice Day: A Retrospective," compiled by pj lilley -- "Seeking Justice for Missing and Murdered Native Women," a poem by Lisa Monchalin -- INSURGENCIES / Christopher Howell, "Anarchism: A Critical Analysis" -- BOOK REVIEWS / The Struggle Within: Prisons, Political Prisoners, and Mass Movements in the United States (by Dan Berger), reviewed by Jordan House -- Killer Weed: Marijuana Grow Ops, Media, and Justice (by Dr. Susan Boyd and Dr. Connie Carter), reviewed by Charles Reasons

The Berkeley School of Criminology stands, to this day, as one of the most significant developments in criminological thought and action. Its diverse participants, students and faculty, were true innovators, producing radical social analyses (getting to the roots causes) of institutions of criminal justice as part of broader relations of inequality, injustice, exploitation, patriarchy, and white supremacy within capitalist societies. Even more, they situated criminology as an active part of opposition to these social institutions and the relations of harm they uphold. Their criminology was directly engaged in, and connected with, the struggles of resistance that emerged in the late 1960s and early 1970s. Not surprisingly perhaps, they became a target of regressive and reactionary forces that sought to quiet those struggles. Notably the Berkeley School of Criminology was targeted by key players in the US military-industrial complex such as Ronald Reagan himself, then Governor of California and Regent of UC-Berkeley.Who Killed the Berkeley School by Julia and Herman Schwendinger, key players in the Berkeley School, is the first full-length, in-depth analysis of the Berkeley School of Criminology, its participants, and the attack against it. It tells the story of an important infrastructure of resistance, a resource of struggle, and how it was dismantled. It lays bare the role not only of conservatives but of liberal academics and false critical theorists, who failed to stand up in defense of the School and its work when called upon.This is a story with profound lessons in the current period of corporatization of campuses, neoliberal education, and market-driven curricula. It will be of interest to anyone concerned with developing resistance to the corporate campus and seeking critical alternatives. It also stands as a challenge to social science disciplines, including criminology, to develop a practice that identifies the roots of social injustice and organizes to confront it.

Radical Criminology, edited by Jeff Shantz [Kwantlen Polytecnic University, Vancouver, British Columbia], is dedicated to bridging the gap between the academy and the global activist community, especially with regard to state violence, state-corporate crime, the growth of surveillance regimes, and the prison-industrial complex. More pointedly, the journal aims to be not simply a project of critique, but is also geared toward a praxis of struggle, insurgence, and practical resistance. Issue 2 includes: EDITORIAL/Jeff Shantz, "In Defense of Radicalism" -- FEATURES/Michael Loadenthal, "The Earth Liberation Front" -- Angie Ng, "Fighting Inequality in Hong Kong: Lessons Learned from Occupy Hong Kong" -- ARTS/pj lilley, "Art Through a Birch Bark Heart: An Illustrated Interview with Erin Marie Konsmo" -- "Profiles: Families of Sisters in Spirit & Native Youth Sexual Health Network" -- Marc James Léger, "Globalization and the Politics of Culture: An Interview with Imre Szeman" -- INSURGENCIES/Ivan Greenberg, "Everyone is a Terrorist Now: Marginalizing Protest in the U.S." -- Christopher Petrella and Josh Begley, "The Color of Corporate Corrections: The Overrepresentation of People of Color in the For-Profit Corrections Industry" -- BOOK REVIEWS/"The Criminal's Handbook: A Practical Guide to Surviving Arrest in Canada" (C.W. Michael), reviewed by Tom C. Allen -- "The Anti-Capitalist Resistance Comic Book" (Gord Hill), reviewed by Mike Larsen -- "State Power and Democracy: Before and During the Presidency of George W. Bush" (Andrew Kolin), reviewed by G.G. Preparata -- "Defying the Tomb" (Kevin "Rashid" Johnson), reviewed by Jeff Shantz

"Part primer, part parable, part elegy for the depth and decency we sacrifice daily to the order of self-possession, The Wind invites us to enjoy it inventively .... A philosopher coming up against the limits of philosophy's forms of communication ("Philosophy, without being in touch, is always abstract"), Bendik-Keymer courts a thoughtfulness in which wonder practically circumvents theory. Energized by "utopian anger," he invokes the clearing, shaking energies of wind against the violent social rigidities we accept as normal. The wind, impersonal, is the figure through which to keep the dynamic inter-personal in view. ... I admire this book's inventiveness, its willingness to break with discipline in pursuing a wider vision of accountability." (Sarah Gridley, author of "Weather Eye Open" and "Loom")A process begun in Pisa, Italy in April of 2016 during a workshop on political theory in the Anthropocene, The Wind An Unruly Living is a philosophical exercise (askêsis, translated, following Ignatius of Loyola, as "spiritual exercise"). In his exercise, Bendik-Keymer throws to the void: the ideology of self-ownership from a society of possession. By using the Stoic kanôn, the rule of living by phûsis, he follows an element. Unhappily for the Stoic and happily for us, the wind is unruly. A swerve of currents through a social fabric, it's full of holes, all holely. Stretch and stitch as you want, it might settle more shapely tattered into light, but it will never become whole. The wind's only holesome.

Gaffe/Stutter is a dead letter to Deleuze's Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter's paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book - a visual reading schematic - this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words "Flag," "Small people on the steps," "A Statue," and "National Gallery Dome"; an empty html file titled 'delete.html'. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze's definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things.

Staying Alive: A Survival Manual for the Liberal Arts fiercely defends the liberal arts in and from an age of neoliberal capital and techno-corporatization run amok, arguing that the public university's purpose is not vocational training, but rather the cultivation of what Fradenburg calls "artfulness," including the art of making knowledge. In addition to sustained critical and creative thinking, the humanities develop the mind's capacities for real-time improvisational communication and interpretation, without which we can neither thrive nor survive. Humanist pedagogy and research use play, experimentation and intersubjective exchange to foster forms of artfulness critical to the future of our species. From perception to reality-testing to concept-formation and logic, the arts and humanities teach us to see, hear and respond more keenly, and to imagine, or "model," new futures and possibilities. Innovation of all kinds, technological or artistic, depends on the enhancement of the skills proper to staying alive.Bringing together psychoanalysis, neuroscience, animal behavioral research, biology & evolutionary theory, and premodern literarature (from Virgil to Chaucer to Shakespeare), Fradenburg offers a bracing polemic against the technocrats of higher education and a vibrant new vision for the humanities as both living art and new life science. Contrary to recent polemics that simply urge the humanities to become more scientistic or technology-focused, to demonstrate their utility or even trophy their uselessness, Staying Alive does something remarkably different: it argues for the humanism of a new scientific paradigm based on complexity theory and holistic and ecological approaches to knowledge-making. It urges us to take the further step of realizing not only that we can promote and enhance neuroplastic connectivity and social-emotional cognition, but also that the humanities have always already been doing so. "Nature always exceeds itself in its expressivity" - which is to say that living is itself an art, and artfulness is necessary for living: for adaptation and innovation, for forging rich and varied relationships with other minds, bodies and things, and thus, for thriving - whether in the boardroom or the art gallery, the biology lab or the recording studio, the alley or the playground, the book or the dream.Staying Alive contains companion essays by Donna Beth Ellard (Rice University), Ruth Evans (Saint Louis University), Eileen A. Joy (BABEL Working Group), Julie Orlemanski (University of Chicago), Daniel C. Remein (New York University), and Michael D. Snediker (University of Houston).TABLE OF CONTENTSEileen A. Joy: Prelude: Hands Off Our Jouissance: The Collaborative Risk of a Shared Disorganization // Chapter 1: Driving Education: A Crash Course // Fugue 1: Julie Orlemanski: An Army of Lovers // Chapter 2: Living the Liberal Arts: An Argument for Embodied Learning Communities // Fugue 2: Daniel C. Remein: Human-Tongued Basilisks // Chapter 3: Breathing with Lacan's Seminar X: Expression and Emergence // Fugue 3: Ruth Evans: The Object Breath // Chapter 4: Life's Reach: Territory, Display, Ekphrasis // Fugue 4: Donna Beth Ellard: Ekphrastic Beowulf: Defying Death and Staying Alive in the Academy // Coda: Michael D. Snediker: Fuzzy Thinking

Masculinity? This book attempts to answer this one-word question by revisiting key philosophical concepts in the construction of masculinity, not in order to re-write or debunk them again, but in order to provide a radically new departure to what masculinity means today. This new departure focuses on an understanding of sexuality and gender that is neither structured in oppositional terms (masculine-feminine, male-female, man-woman) nor in performative terms (for which the opposition remains always secretly in play), but in a perpendicular relation akin to that which brings space and time together. In doing so, this book doesn't aim to establish yet another theory within the field of masculism or men's studies, but to put forward a personal account of how a revised understanding of the relationship between space, time, and gender can thoroughly alter concepts of masculinity.

Any social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo "hegemony." Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the "hegemones"). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is "natural." The current hegemony - that is, the set of values and beliefs that bolster the current socio-political status quo - is a hegemony of psychopathy: it promotes "cultural psychopathy" and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the "pillars" that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter - among others - for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not - and cannot - offer any concrete advice.The Hegemony of Psychopathy is a publication of Brainstorm Books, a collaboration between Punctum Books and the Literature & the Mind specialization at the University of California, Santa Barbara.

Edited by Jamie Allen, Paul Boshears, Vincent W.J. van Gerven Oei, A. Staley Groves, and Nico Jenkins.continent. journal [http: //continentcontinent.cc/index.php/continent/index] maps a topology of unstable confluences and ranges across new thinking traversing interstices and alternate directions in culture, theory, politics and art.continent. Year 1 comprises a selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy.With contributions by Jamie Allen, Alain Badiou, Vincent W.J. van Gerven Oei, A. Staley Groves, Graham Harman, Nikos Karouzos, Evan Lavender-Smith, Renata Lemos-Morais, Feliz Molina, Timothy Morton, Gregory Kirk Murray, Maggie Nelson, Michael O'Rourke, Gilson Schwartz, Ben Segal, Nick Skiadopoulos, Karen Spaceinvaders, Phillip Stearns, John van Houdt, and Ben Woodard

Radical Criminology, edited by Jeff Shantz [Kwantlen Polytecnic University, Vancouver, British Columbia], is dedicated to bridging the gap between the academy and the global activist community, especially with regard to state violence, state-corporate crime, the growth of surveillance regimes, and the prison-industrial complex. More pointedly, the journal aims to be not simply a project of critique, but is also geared toward a praxis of struggle, insurgence, and practical resistance. Issue 3 (Winter 2014) includes: EDITORIAL / Jeff Shantz, "Neither Justice nor Crime (We Are All Criminals Now)" -- FEATURES/Nicholas Chagnon, "Heinous Crime or Acceptable Violence? The Disparate Framing of Femicides in Hawai'ii -- Tage Alalehto, "Ivar Kreuger: An International Swindler of Magnitude" -- ARTS/"Art Against Extraction Industries, feat. cover artist Fanny Aishaa, + Likhts'amisyu hereditary chief Toghestiy, Gord Hill +more" -- INSURGENCIES/Christopher Petrella, "The Color of Corporate Corrections, Part II: Contractual Exemptions and the Overrepresentation of People of Color in Private Prisons" -- Aiyana Ormond, "Jaywalking to Jail: Capitalism, mass incarceration and social control on the streets of Vancouver" -- Vicki Chartrand, "Tears 4 Justice and the Missing and Murdered Women and Children Across Canada: An Interview with Gladys Radek" -- BOOK REVIEWS/"Drawing the Line Once Again" (by Paul Goodman), reviewed by Jeff Shantz

"Things fall apart; the centre cannot hold." These words from Yeats's poem "The Second Coming" provide Why the Center Can't Hold with its organizing theme. And although Yeats was describing the grim atmosphere of post-World War I Europe, O'Neill regards the poem's pronouncements as eerily predictive of the state of the world as we are currently observing it. O'Neill takes them as predictive of the agency in particular of the United States-the "Center"-in bringing about in the world the more general chaos we are now observing (relative to various refugee and migrant crises, the emergence of sophisticated and even postmodern forms of militant and cyber terrorism, banking and other monetary crises, environmental catastrophes under the aegis of climate change, the defunding of public higher education, the persistence of virulent forms of racism and other types of intolerance, the concentration of wealth in fewer and fewer hands, the marginalisation and even outright elimination of human labor forces, etc.). O'Neill provides historical analyses that illuminate why this is the case, and he also asks what changes in the United States - in its politics, in its socio-cultural formations, and in its beliefs and (supposedly common) values - might help us to avoid the seemingly inevitable (and lamentable) destruction that lies ahead.

It's clear that "philosophy" comes from the Greek "philosophia," love of wisdom. What is not at all clear is what that phrase means. In the connection it articulates between love and wisdom, what, precisely, does philosophy name?This small book, or extended essay, is divided into three sections. The first section (What is Philosophy?) takes seriously Gilles Deleuze and Felix Guattari's contention in their book of the same title that, "The nonphilosophical is perhaps closer to the heart of philosophy than philosophy itself, and this means that philosophy cannot be content to be understood only philosophically or conceptually, but is essentially addressed to nonphilosophers as well?" (including the nonphilosopher in every philosopher). The second section (On Argument) interrogates the status and value of evidence, and self-evidence. The third section (On Not Knowing) generalizes a parenthetical observation of Agamben's on Heidegger, "If we may attempt to identify something like the characteristic Stimmung of every thinker, perhaps it is precisely this being delivered over to something that refuses itself that defines the specific emotional tonality of Heidegger's thought" Might not philosophy be defined, the phil of sophia, precisely, as what it is to be delivered over to something that refuses itself? That is precisely what this small explores.

Radical Criminology, edited by Jeff Shantz [Kwantlen Polytecnic University, Vancouver, British Columbia], is dedicated to bridging the gap between the academy and the global activist community, especially with regard to state violence, state-corporate crime, the growth of surveillance regimes, and the prison-industrial complex. More pointedly, the journal aims to be not simply a project of critique, but is also geared toward a praxis of struggle, insurgence, and practical resistance. Issue 1 includes: EDITORIAL: Radical Criminology: A Manifesto; FEATURES: Security Assemblages and Spaces of Exception: The Production of (Para-)Militarized Spaces in the U.S. War on Drugs by Markus Kienscherf; Contesting the 'Justice Campus': Abolitionist Resistance to Liberal Carceral Expansion by Judah Schept; Cooperation versus Competition in Nature and Society: The Contribution of Piotr Kropotkin to Evolution Theory by Urbano Fra Paleo; ART: We are coming . . . strong . . . unstoppable: A Global Balkans Interview with Belgrade Artist Milica Ruzicic; + Zrenjanin, Jugoremedija, 2004 (a note on the cover painting); Series of paintings on police brutality by Milica Ruzicic; INSURGENCIES: Repression, Resistance, and the Neocolonial Prison Nation: Notes on the 2010 Struggle of the California Prisoners' Hunger Strike by K. Kersplebedeb; Prison Expansionism, Media, and "Offender Pools": An Abolitionist Perspective on the Criminalization of Minorities in the Canadian Criminal Justice System by Steven Nguyen; BOOK REVIEWS: The Red Army Faction-A Documentary History. Vol. I: Projectiles for the People, by J. Smith and Andre Moncourt (Eds.), reviewed by Guido G. Preparata; Freedom Not Yet: Liberation and the Next World Order, by Kenneth Surin, reviewed by Jeff Shantz