Nine letters on art, written to friends from exile in France in the 1980s. Starting from earlier materialist approaches to art, Negri relates artistic production to the structures of social production characteristic of each historical era. This enables him to define the nature of both material and artistic production in the era of post-modernity and post-Fordism - the era Negri characterizes as that of immaterial labour. Negri then seeks to define artistic beauty in this new era, and this he does in terms of concepts that have become fundamental to his thinking - singularity, multitude, abstraction, collective work, event, the biopolitical, the common. Art is living labour, and therefore invention of singularity, of singular figures and objects. But this expressive act only achieves beauty when the signs and language through which it expresses itself turn themselves into community, when they are contained within a common project. The beautiful is not the act of imagining, but an imagination that has become action. Art, in this sense, is multitude.

Art and culture are marginalised from mainstream debates on democracy and society, particularly with the current turbulence in Europe and the global significance of a coherent European identity and sense of cultural unity. This book explores the power of participation in art works for the formation of public memory, for the commemoration of historical events, and for an urban landscape that articulates cultural identity and recognition. The public works of German conceptual artist Jochen Gerz are a fulcrum of our exploration, but the framework is more broadly the European experience of war, conflict, peace and reconciliation, with many other relevant works from the last 25 years in Europe under discussion. The common characteristic of art works under discussion is that people of different backgrounds are invited to participate, regardless of nationality, language, religion, political affiliation or class."

'Art sociologist Pascal Gielen defends the hypothesis that the globalized art scene is an ideal production entity for economic exploitation. These days the work ethic of the art world with its ever-present young dynamic, flexible working hoursm thematic approach, short-term contracts or lack of contracts and its unlimited, energetic freedom is capitalized within the cultural indyustry and has been converted into a standard production model. In the glow of the crative cities and the creative industry govermments embrace this post-Henry Ford work model and seamlessly link it to the globally-dominant neo-liberal market economy'--Back cover.

In their international bestseller Empire, Michael Hardt and Antonio Negri presented a grand unified vision of a world in which the old forms of imperialism are no longer effective. But what of Empire in an age of “American empire”? Has fear become our permanent condition and democracy an impossible dream? Such pessimism is profoundly mistaken, the authors argue. Empire, by interconnecting more areas of life, is actually creating the possibility for a new kind of democracy, allowing different groups to form a multitude, with the power to forge a democratic alternative to the present world order.Exhilarating in its optimism and depth of insight, Multitude consolidates Hardt and Negri’s stature as two of the most important political philosophers at work in the world today.

"During the 1960s and the 1970s I believe that the Western world experienced a defeated revolution - the first revolution aimed not against poverty and backwardness, but against the means of capitalist production, against the Ford assembly-line and wage labor. Post-Fordism, the hybrid forms of life characteristic of the contemporary multitude, is the answer to this defeated revolution. Dismissing both Keynesianism and socialist work ethic, post-Fordist capitalism puts forth in its own way typical demands of communism: abolition of work, dissolution of the State, etc. Post-Fordism is the communism of capital."--Back cover.

The influential Italian thinker offers three essays in the political philosophy of language. Multitude between Innovation and Negation by Paolo Virno translated by James Cascaito. The publication of Paolo Virno's first book in English, Grammar of the Multitude, by Semiotext(e) in 2004 was an event within the field of radical political thought and introduced post-'68 currents in Italy to American readers. Multitude between Innovation and Negation, written several years later, offers three essays that take the reader on a journey through the political philosophy of language. “Wit and Innovative Action” explores the ambivalence inevitably arising when the semiotic and the semantic, grammar and experience, rule and regularity, and right and fact intersect. Virno unravels the infinite potential and wonders of everyday linguistic praxis and ambiguity. Wit, he argues, is a public performance, and its modus operandi characterizes human action in a state of emergency; it is a reaction, an articulate response, and a possible solution to a state of crisis. “Mirror Neurons, Linguistic Negation, and Mutual Recognition” examines the relationship of language and intersubjective empathy: without language, would human beings be able to recognize other members of their species? And finally, in “Multitude and Evil,” Virno challenges the distinction between the state of nature and civil society and argues for a political institution that resembles language in its ability to be at once nature and history. Few thinkers take the risks required by innovation. Like a philosophical entrepreneur, Virno is engaged in no less than rewriting the dictionary of political theory, an urgent and ambitious project when language, caught in a permanent state of emergency impossible to sustain, desperately needs to articulate and enact new practices of freedom for the multitude. Paolo Virno is the author of several books, including A Grammar of the Multitude (Semiotext(e), 2004).

Math Goggles is a collection of field-tested activities for children that integrate mathematics into the world of the visual arts. Serving as the focal point for each mathematics activity is the work of a famous modern artist"Jackson Pollock, Andy Warhol, Georgie O'Keefe, and many more. After learning brief biographical and anecdotal information about the artist, the reader engages in an exploration of the mathematics embedded in the artwork by creating the featured piece of artwork in the spirit of the artist. Step-by-step instructions accompanied by color images of the artistic masterpieces as well as actual student work aid the reader in visualizing and understanding how to create the art in each activity. As the reader creates each masterpiece, mimicking the great masters, they simultaneously hone their estimation, counting, measurement, and number-sense skills while noticing, creating, and describing shapes and patterns and experimenting with symmetry and probability.

In recent years "leaderless" social movements have proliferated around the globe, from North Africa and the Middle East to Europe, the Americas, and East Asia. Some of these movements have led to impressive gains: the toppling of authoritarian leaders, the furthering of progressive policy, and checks on repressive state forces. They have also been, at times, derided by journalists and political analysts as disorganized and ineffectual, or suppressed by disoriented and perplexed police forces and governments who fail to effectively engage them. Activists, too, struggle to harness the potential of these horizontal movements. Why have the movements, which address the needs and desires of so many, not been able to achieve lasting change and create a new, more democratic and just society? Some people assume that if only social movements could find new leaders they would return to their earlier glory. Where, they ask, are the new Martin Luther Kings, Rudi Dutschkes, and Stephen Bikos? With the rise of right-wing political parties in many countries, the question of how to organize democratically and effectively has become increasingly urgent. Although today's leaderless political organizations are not sufficient, a return to traditional, centralized forms of political leadership is neither desirable nor possible. Instead, as Michael Hardt and Antonio Negri argue, familiar roles must be reversed: leaders should be responsible for short-term, tactical action, but it is the multitude that must drive strategy. In other words, if these new social movements are to achieve meaningful revolution, they must invent effective modes of assembly and decision-making structures that rely on the broadest democratic base. Drawing on ideas developed through their well-known Empire trilogy, Hardt and Negri have produced, in Assembly, a timely proposal for how current large-scale horizontal movements can develop the capacities for political strategy and decision-making to effect lasting and democratic change. We have not yet seen what is possible when the multitude assembles.

"The Night Ocean" is told from the first person narrative and it follows the young painter who arrives in a small village of Ellston where he is supposed to enter a contest with his large mural. At first, he enjoys peace and quiet surroundings, but as he stays longer he start seeing and experiencing some strange things which, along with the loneliness, have strong effect to his psyche.