This seventh collection of essays and reviews kicks off with a survey of some overlooked British poets from the 1940s who, through a network of little magazines with anarchist inclinations, attempted to offer an alternative to the MacSpaunDay generation's sensibilities. Another piece considers how British writers were monitored by MI5 and local police forces, while a third switches attention to the USA and looks at the still-controversial case of Alger Hiss and his alleged role as a spy who passed information to Russia. There are essays about lesser-known Beat-related writers like Bob Kaufman and Brion Gysin, inspections of some little magazines of the 1950s and 1960s, and two long reviews which consider the effect that Dadaism had and the role played in the movement by Tristan Tzara. Walt Whitman, Woody Guthrie, and Malcolm Cowley also make an appearance.

This revelatory and exhilarating and funny book not only tells us of the Beat generation, but of a time when we as individuals felt truly free. It is as fresh and pertinent as the latest scholarly history only far more entertaining--Studs Terkel.

The Consumer Society Reader features a range of key works on the nature and evolution of consumer society. Included here is much-discussed work by leading critics such as Jean Baudrillard, Susan Bordo, Dick Hebdige, bell hooks, and Janice Radway. Also included is a full range of classics, such as Frankfurt School writers Adorno and Horkheimer on the Culture Industry; Thorstein Veblen's oft-cited writings on "conspicuous consumption"; Betty Friedan on the housewife's central role in consumer society; John Kenneth Galbraith's influential analysis of the "affluent society"; and Pierre Bourdieu on the notion of "taste." "Consumer society--the 'air we breathe,' as George Orwell has described it--disappears during economic downtruns and political crises. It becomes visible again when prosperity seems secure, cultural transformation is too rapid, or enviornmental disasters occur. Such is the time in which we now find ourselves. As the roads clog with gas-guzzling SUVs and McMansions proliferate in the suburbs, the nation is once again asking fundamental questions about lifestyle. Has 'luxury fever,' to use Robert Frank's phrase, gotten out of hand? Are we really comfortable with the 'Brand Is Me' mentality? Have we gone too far in pursuit of the almighty dollar, to the detriment of our families, communities, and natural enviornment? Even politicians, ordinarily impermeable to questions about consumerism, are voicing doubts... [and] polls suggest majorities of Americans feel the country has become too materialistic, too focused on getting and spending, and increasingly removed from long-standing non-materialist values." —From the introduction by Douglas B. Holt and Juliet B. Schor

Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.

On 15th October 2011, hundreds of anti-capitalist protestors assembled into a spectacular carnivalesque procession towards Paternoster Square; the heartland of London’s banking district. Beginning with Althusser’s concept of ‘interpellation’, this book examines Occupy LSX St Paul’s Cathedral in relation to media spectacle. Initially focusing on arrival narratives, it asks the question: were the 15th October 2011 anti-capitalist protestors ‘hailed’ into becoming the subjects of Occupy LSX St Paul’s Cathedral? Based on extensive ethnographic interviews and photographic data, this book demonstrates the complex ways in which Occupy LSX St Paul’s Cathedral ‘interpolated’ (Ashcroft 2001) and subverted media spectacle. Kairos exemplifies the longue durée of the art and ethics of Occupy. The bifarious dimensions of kairos emphasise an ethics of care and devotion alongside the indeterminate possibilities of the aleatory encounter. Formulated within Marxist aleatory materialism, this book explores the momentous reality of Occupy LSX St Paul’s Cathedral. Instantiated within an extraordinary conjuncture of conflict between capital and labour, Occupy LSX St Paul’s Cathedral manifested formidable expressions of resistance to the disembodied ‘space of flows’; ‘timeless times’; and the ‘real virtualities’ of transnational capitalist accumulation. Empirical case studies are used to engage with the extraordinary strategies that Occupy LSX St Paul’s Cathedral politically cultivated to address: (i) the future of print news media, The Occupied Times of London; (ii) disjunctures and disruptions within the locality of the ‘space of place’ amidst the harsh reality of neoliberal austerity measures; (iii) the harnessing of multi-modal information communication technologies as part of an imperative to unite the ‘space of place’ with an international environmental citizenship; (iv) critically mobilising market analogues and promotional media integral to the neoliberal market reform of public sector healthcare provision and, in so doing, occupying a radical riposte to the entrepreneurial self and marketized morals of neoliberalism’s homo economicus consumer citizen. In these and many other examples, this book argues that Occupy LSX St Paul’s Cathedral exemplifies the possibilities of kairos as a condition and consequence of the politics, visual media and culture of new social movements.

In Anarchy of the Body, art historian KuroDalaiJee sheds light on vital pieces of postwar Japanese avant-garde history by contextualizing the social, cultural, and political trajectories of artists across Japan in the 1960s. A culmination of years of research, Anarchy of the Body draws on an extensive breadth of source material to reveal how the practice of performance by individual artists and art groups during this period formed a legacy of resistance against institutionalization, both within the art world and more broadly in Japanese society. This book contains 256 high-quality reproductions, including rare performance photographs not readily accessible elsewhere, as well as a comprehensive chronology. KuroDalaiJee was awarded the 2010 Art Encouragement Prize for New Artists (criticism category) by the Minister of Education, Culture, Sports, Science and Technology's Art. Contributors: Kurokawa Noriyuki (editor), Jason Beckman (copy-editor of the translation), Andrew Maerkle (translator), Shima Yumiko (translator), Alice Kiwako Ashiwa (editorial assistant), Daniel González (translator), Claire Tanaka (translator), Giles Murray (translator), Jenny Preston (translator) Translated from the original Japanese edition published with Tokyo: Grambooks, 2010. In cooperation with Art Platform Japan / The Agency for Cultural Affairs, Government of Japan Art Platform Japan is an initiative by the Agency for Cultural Affairs, Government of Japan, to maintain the sustainable development of the contemporary art scene in Japan.

Originally published in 1978. When compared with socialist and communist systems in other nations, the impact of radicalism on American society seems almost nonexistent. David DeLeon challenges this position, however, by presenting a historical and theoretical perspective for understanding the scope and significance of dissent in America. From Anne Hutchinson in colonial New England to the New Left of the 1960s, DeLeon underscores a tradition of radical protest that has endured in American history—a tradition of native anarchism that is fundamentally different from the radicalism of Europe, the Soviet Union, or nations of the Third World. DeLeon shows that a profound resistance to authority lies at the very heart of the American value system. The first part of the book examines how Protestant belief, capitalism, and even the American landscape itself contributed to the unique character of American dissent. DeLeon then looks at the actions and ideologies of all major forms of American radicalism, both individualists and communitarians, from laissez-faire liberals to anarcho-capitalists, from advocates of community control to syndicalists. In the book's final part, DeLeon argues against measuring the American experience by the standards of communism and other political systems. Instead he contends that American culture is far more radical than that of any socialist state and the implications of American radicalism are far more revolutionary than forms of Marxism-Leninism.

One of the powers of art is its ability to convey the human aspects of political events. In this fascinating survey on art, artists, and anarchism, Allan Antliff interrogates critical moments when anarchist artists have confronted pivotal events over the past 140 years. The survey begins with Gustave Courbet’s activism during the 1871 Paris Commune (which established the French republic) and ends with anarchist art during the fall of the Soviet empire. Other subjects include the French neoimpressionists, the Dada movement in New York, anarchist art during the Russian Revolution, political art of the 1960s, and gay art and politics post-World War II. Throughout, Antliff vividly explores art’s potential as a vehicle for social change and how it can also shape the course of political events, both historic and present-day; it is a book for the politically engaged and art aficionados alike. Allan Antliff is the author of Anarchist Modernism.

This fascinating book explores Beat Generation writing from a transnational perspective, using the concept of worlding to place Beat literature in conversation with a far-reaching network of cultural and political formations. Countering the charge that the Beats abroad were at best na•ve tourists seeking exoticism for exoticism's sake, World Beats finds that these writers propelled a highly politicized agenda that sought to use the tools of the earlier avant-garde to undermine Cold War and postcolonial ideologies and offer a new vision of engaged literature. With fresh interpretations of central Beat authors Jack Kerouac, Allen Ginsberg, and William Burroughs - as well as usually marginalized writers like Philip Lamantia, Ted Joans, and Brion Gysin - World Beats moves beyond national, continental, or hemispheric frames to show that embedded within Beat writing is an essential universality that brought America to the world and the world to American literature. This book presents an original treatment that will attract a broad spectrum of scholars.

Anarchic street performances in late-1950s Japan; inauguration of the first Happenings in Antwerp and charging of the "magic circle" in Amsterdam; Bauhaus Situationiste and anti-national art exchanges, networks and communes. As "Happener" and "Art Missionary," Yoshio Nakajima’s storied career traverses an astounding range of locations, scenes, movements, media, and performance modes in the global 1960s and 1970s in ways that challenge our notions of the possibilities of art. Nakajima repeatedly plays a role in jump-starting spaces of possibility, from Tokyo to Ubbeboda, from Spui Square and the Dutch Provos to Antwerp and Sweden. Despite this, Nakajima’s work has paradoxically been largely excluded from accounts where it might have justifiably featured. The present volume represents an international collaboration of researchers working to remedy this oversight. Nakajima’s work demands a reconceptualization of narratives of this art and politics and their specific interrelation to consider his exemplary nonconformity—and its exemplary exclusion. This history demonstrates the inadequacy of notions of specificity that would oppose an authentic local or national frame to an inauthentic transnational one. Conversely, Nakajima manifests a key dimension of the 1960s as a global event in the interrelation between eventfulness itself and the redrawing of categories of practice and understanding.