Future Texts: Subversive Performance and Feminist Bodies sketches several possibilities for future texts, those that imagine new pathways through the forms used to express contemporary questions of race, gender, and identity. Future Texts: Subversive Performance and Feminist Bodies’ area of investigation is situated within popular culture, not as a place of critique or celebration, but rather as a contested site that crosses an array of media forms, from music video, to games, to global journalism. While there is an established tradition in feminist writing founded on experimental expression that disrupts patriarchal culture, it has too often failed to consider issues of race and class. This is evident in the dilemma faced by black feminists who, alienated from dominant feminism’s failure to consider their experience, have been forced to choose whether they were black or women first. To push back against such identity splintering, Future Texts: Subversive Performance and Feminist Bodies begins with the politics and aesthetics of Afrofuturism, which sets the stage for the dialogue around contemporary feminism that runs through the collection. With a paradigm of remix as linguistic play and reconfiguration, the chapters confront the question of narrative codes and conventions. These new formats are crucial to rewriting the relationship between hegemonic and resistant texts.

This book is the first anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating, with a Foreword by the co-inventor of the Internet, Vint. Cerf and a Postscript by the founder of the modern Library of Alexandria, Ismail Serageldin. In a time with astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business and technology. We hope you will be as inspired as we are as to the potential power of text truly unleashed. Contributions by Adam Cheyer * Adam Kampff * Alan Kay * Alessio Antonini * Alex Holcombe * Amaranth Borsuk * Amira Hanafi * Amos Paul Kennedy Jr. * Anastasia Salter * Andy Matuschak & Michael Nielsen * Ann Bessemans & María Pérez Mena * Andries Van Dam * Anne-Laure Le Cunff * Anthon Botha * Azlen Ezla * Barbara Beeton * Belinda Barnet * Ben Shneiderman * Bernard Vatant * Bob Frankston * Bob Horn * Bob Stein * Catherine C. Marshall * Charles Bernstein * Chris Gebhardt * Chris Messina * Christian Bök * Christopher Gutteridge * Claus Atzenbeck * Daniel Russel * Danila Medvedev * Danny Snelson * Daveed Benjamin * Dave King * Dave Winer * David De Roure * David Jablonowski * David Johnson * David Lebow * David M. Durant * David Millard * David Owen Norris * David Price * David Weinberger * Dene Grigar * Denise Schmandt-Besserat * Derek Beaulieu * Doc Searls * Don Norman * Douglas Crockford * Duke Crawford * Ed Leahy * Elaine Treharne * Élika Ortega * Esther Dyson * Esther Wojcicki * Ewan Clayton * Fiona Ross * Fred Benenson & Tyler Shoemaker * Galfromdownunder, aka Lynette Chiang * Garrett Stewart * Gyuri Lajos * Harold Thimbleby * Howard Oakley * Howard Rheingold * Ian Cooke * Iian Neil * Jack Park * Jakob Voß * James Baker * James O'Sullivan * Jamie Blustein * Jane Yellowlees Douglas * Jay David Bolter * Jeremy Helm * Jesse Grosjean * Jessica Rubart * Joe Corneli * Joel Swanson * Johanna Drucker * Johannah Rodgers * John Armstrong * John Cayle * John-Paul Davidson * Joris J. van Zundert * Judy Malloy * Kari Kraus & Matthew Kirschenbaum * Katie Baynes * Keith Houston * Keith Martin * Kenny Hemphill * Ken Perlin * Leigh Nash * Leslie Carr * Lesia Tkacz * Leslie Lamport * Livia Polanyi * Lori Emerson * Luc Beaudoin & Daniel Jomphe * Lynette Chiang * Manuela González * Marc-Antoine Parent * Marc Canter * Mark Anderson * Mark Baker * Mark Bernstein * Martin Kemp * Martin Tiefenthaler * Maryanne Wolf * Matt Mullenweg * Michael Joyce * Mike Zender * Naomi S. Baron * Nasser Hussain * Neil Jefferies * Niels Ole Finnemann * Nick Montfort * Panda Mery * Patrick Lichty * Paul Smart * Peter Cho * Peter Flynn * Peter Jenson & Melissa Morocco * Peter J. Wasilko * Phil Gooch * Pip Willcox * Rafael Nepô * Raine Revere * Richard A. Carter * Richard Price * Richard Saul Wurman * Rollo Carpenter * Sage Jenson & Kit Kuksenok * Shane Gibson * Simon J. Buckingham Shum * Sam Brooker * Sarah Walton * Scott Rettberg * Sofie Beier * Sonja Knecht * Stephan Kreutzer * Stephanie Strickland * Stephen Lekson * Stevan Harnad * Steve Newcomb * Stuart Moulthrop * Ted Nelson * Teodora Petkova * Tiago Forte * Timothy Donaldson * Tim Ingold * Timur Schukin & Irina Antonova * Todd A. Carpenter * Tom Butler-Bowdon * Tom Standage * Tor Nørretranders * Valentina Moressa * Ward Cunningham * Dame Wendy Hall * Zuzana Husárová. Student Competition Winner Niko A. Grupen, and competition runner ups Catherine Brislane, Corrie Kim, Mesut Yilmaz, Elizabeth Train-Brown, Thomas John Moore, Zakaria Aden, Yahye Aden, Ibrahim Yahie, Arushi Jain, Shuby Deshpande, Aishwarya Mudaliar, Finbarr Condon-English, Charlotte Gray, Aditeya Das, Wesley Finck, Jordan Morrison, Duncan Reid, Emma Brodey, Gage Nott, Aditeya Das and Kamil Przespolewski. Edited by Frode Hegland.

In recent years, the rise of fundamentalism and a related turn to religion in the humanities have led to a powerful resurgence of interest in the problem of political theology. In a critique of this contemporary fascination with the theological underpinnings of modern politics, Victoria Kahn proposes a return to secularism—whose origins she locates in the art, literature, and political theory of the early modern period—and argues in defense of literature and art as a force for secular liberal culture. Kahn draws on theorists such as Carl Schmitt, Leo Strauss, Walter Benjamin, and Hannah Arendt and their readings of Shakespeare, Hobbes, Machiavelli, and Spinoza to illustrate that the dialogue between these modern and early modern figures can help us rethink the contemporary problem of political theology. Twentieth-century critics, she shows, saw the early modern period as a break from the older form of political theology that entailed the theological legitimization of the state. Rather, the period signaled a new emphasis on a secular notion of human agency and a new preoccupation with the ways art and fiction intersected the terrain of religion.

In an era of populist politics, Brexit, Donald Trump, 24-hour news cycles and perpetual election campaigning, how do we govern well for the future? How do we take the long view, ensuring that present-day policy decisions reflect the needs and safeguard the interests of future generations? In this timely BWB Text, acclaimed policy scholar Jonathan Boston sets out what ‘anticipatory governance’ might look like in New Zealand. Confronted with a world becoming more uncertain by the day, this book is essential reading for anyone questioning how democratic societies can tackle the unprecedented challenges ahead.

The question of the relation between the visual and the textual in literature is at the heart of an increasing number of scholarly projects, and in turn, the investigation of evolving visual-verbal dynamics is becoming an independent discipline. This volume explores these profound literary shifts through the work of twelve talented, and in some cases, emerging scholars who study text and image relations in diverse forms and contexts. The inter-medial conjunctures investigated in this book play with and against the traditional roles of the visual and the verbal. The Future of Text and Image presents explorations of the incorporation of visual elements into works of literature, of visual writing modes, and of the textuality and literariness of images. It focuses on the special potential literature offers for the combination of these two functions. Alongside examinations of major forms and genres such as memoirs, novels, and poetry, this volume expands the discussion of text and image relations into more marginal forms, for instance, collage books, the PostSecret collections of anonymous postcards, and digital poetry. In other words, while exploring the destiny of text and image as an independent discipline, this volume simultaneously looks at the very literal future of text and image forms in an ever-changing technological reality. The essays in this book will help to define the emergent practices and politics of this growing field of study, and at the same time, reflect the tremendous significance of the visual in today’s image culture.

Challenging mainstream technocultural assumptions of a raceless future, Afrofuturism explores culturally distinct approaches to technology. This special issue addresses the intersection between African diasporic culture and technology through literature, poetry, science fiction and speculative fiction, music, visual art, and the Internet and maintains that racial identity fundamentally influences technocultural practices. The collection includes a reflection on the ideologies of race created by cultural critics in their analyses of change wrought by the information age; an interview with Nalo Hopkinson, the award-winning novelist and author of speculative fiction novels Midnight Robber and Brown Girl in the Ring, who fuses futuristic thinking with Caribbean traditions; an essay on how contemporary R&B music presents African American reflections on the technologies of everyday life; and an article examining early interventions by the black community to carve out a distinct niche in cyberspace. Contributors. Ron Eglash, Anna Everett, Tana Hargest, Nalo Hopkinson, Tracie Morris, Alondra Nelson, Kalí Tal, Fatimah Tuggar, Alexander G. Weheliye Alondra Nelson is a Ph.D. candidate in the American Studies Program at New York University and is the Ann Plato Fellow at Trinity College. She will begin teaching in the African American Studies and Sociology Departments at Yale University in the fall of 2002. Contributors. Ron Eglash, Anna Everett, Tana Hargest, Nalo Hopkinson, Alondra Nelson, Tracie Morris, Kali Tal, Fatimah Tuggar, Alexander G. Weheliye

Covid-19 has had a devastating effect on New Zealand tourism, but the industry was already troubled by unchecked growth and questionable governance that has put pressure on the environment, infrastructure and communities. In this urgent collection of essays, nine writers outline their vision for sustainable tourism, the barriers to achieving it and how they can be overcome. This BWB Text is a rallying call for a genuine tourism ‘reset’ that puts the environment first and creates more meaningful exchanges between visitors and their hosts.

Designed Future is a journey through the modern era: our life in cities, the Americas, new territories and the old continent, of vision and design as essential tools for building the future. As the most complete collection of essays, interviews and lectures, this book is an in-depth view of the journey and particular thinking of one of the most relevant living architects, the Brazilian modern master, Paulo Mendes da Rocha (1928-2021). For the first time translated in English, it disclosures a must-read intense and provocative thinker in contemporary times.

In most college and university libraries, materials published before 1800 have been moved into special collections, while the post-1923 books remain in general circulation. But books published between these dates are vulnerable to deaccessioning, as libraries increasingly reconfigure access to public-domain texts via digital repositories such as Google Books. Even libraries with strong commitments to their print collections are clearing out the duplicates, assuming that circulating copies of any given nineteenth-century edition are essentially identical to one another. When you look closely, however, you see that they are not. Many nineteenth-century books were donated by alumni or their families decades ago, and many of them bear traces left behind by the people who first owned and used them. In Book Traces, Andrew M. Stauffer adopts what he calls "guided serendipity" as a tactic in pursuit of two goals: first, to read nineteenth-century poetry through the clues and objects earlier readers left in their books and, second, to defend the value of keeping the physical volumes on the shelves. Finding in such books of poetry the inscriptions, annotations, and insertions made by their original owners, and using them as exemplary case studies, Stauffer shows how the physical, historical book enables a modern reader to encounter poetry through the eyes of someone for whom it was personal.