Stephen Muecke, one of the originators of fictocritical writing, presents a selection of his best essays in this innovative genre.

Architects and fiction writers share the same ambition: to imagine new worlds into being. Every architectural proposition is a kind of fiction before it becomes a built fact; likewise, every written fiction relies on the construction of a context in which a story can take place. This collection of essays explores what happens when fiction, experimental writing and criticism are combined and applied to architectural projects and problems. It begins with ficto-criticism – an experimental and often feminist mode of writing which fuses the forms and genres of essay, critique, and story – and extends it into the domain of architecture, challenging assumptions about our contemporary social and political realities, and placing architecture in contact with such disciplines as cultural studies, literary theory and ethnography. These sixteen newly-written pieces have been selected for this volume to show how ficto-critical writing can be a powerful vehicle for creative architectural practice, providing new opportunities to explore modes of writing about architecture both within and beyond the discipline. The collection represents a broad range of geographical and cultural positions including indigenous and non-Western contexts, and includes a foreword and afterword by important thinkers in the domains of architectural criticism (Jane Rendell) and cultural studies/ethnography (Stephen Muecke).

From intergalactic travel to the daily commute, enter this book and be transported to wonderful worlds where art and life intertwine and your ideas of both are upended. Chloe Watfern, a writer, transdisciplinary researcher, and maker, joined two world-leading supported studios to learn about the work of their vibrant collectives of neurodiverse artists. At Studio A, Thom Roberts paints, photocopies, animates, and performs, inviting us to understand people as trains and trains as people (among other things). Skye-Fox, a.k.a. Katerina the Steampunk Ringmaster, a.k.a. Skye Saxon, creates interconnected universes through soft sculpture, drawing, and storytelling. Lisa Tindall writes her life breathlessly in piles of notebooks, words from which she stitches into a dress that conveys some of her experiences. At Project Art Works, Kate Adams and her son Paul Colley walk familiar and strange places, capturing them on film. A forest of scribbles emerges in an art museum as people meet through graphite and charcoal on paper. Artists and makers like Tim Corrigan, Sharif Persaud, Carl Sexton, and Sam Smith move in and out of the frame, sharing biscuits, paint brushes, and wildernesses. In this book, written as a personal narrative informed by the latest thinking on neurodiversity and art, Chloe tells a tender and exhilarating story of the social and aesthetic dynamics at Studio A and Project Art Works, places like no other. In journeying alongside the complex and astonishing contemporary artists who work there, the book invites readers to radically reconsider their settled ideas of creativity, disability, and care, while learning about lives devoted to making.

Offshoot includes essays in life writing methodologies and approaches, as well as a series of creative work-poetry and prose-that engages with current life writing. This collection highlights the development and influence of the genre in the twenty-first century. Starting from the premise that life writing is a significant component of both contemporary artistic practice and scholarship, Offshoot provides a necessary re-evaluation of the mode, its contemporary sub-generic incarnations, as well as methodological and practical approaches. The book presents research on a wide range of approaches, including both traditional areas-such as literature and creative writing-and areas that have not previously been associated with life writing scholarship. With its multifaceted readings, Offshoot signals a shift in life writing research tending towards an expansive, hybrid, experimental, and rhizomic approach. [Subject: Life Writing, Education, Literature]

In The Hundreds Lauren Berlant and Kathleen Stewart speculate on writing, affect, politics, and attention to processes of world-making. The experiment of the one hundred word constraint—each piece is one hundred or multiples of one hundred words long—amplifies the resonance of things that are happening in atmospheres, rhythms of encounter, and scenes that shift the social and conceptual ground. What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? The Hundreds includes four indexes in which Andrew Causey, Susan Lepselter, Fred Moten, and Stephen Muecke each respond with their own compositional, conceptual, and formal staging of the worlds of the book.

As practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place? Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right. Finding ways to make the intangible nature of much of our work ‘count’ under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area. Please see the companion site to the book, http://www.creativecritic.co.uk, where some of the chapters have become unfixed from the page.

This book ​ critically examines the COVID-19 pandemic and its legal and biological governance using a multidisciplinary approach. The perspectives reflected in this volume investigate the imbrications between technosphere and biosphere at social, economic, and political levels. The biolegal dimensions of our evolving understanding of “home” are analysed as the common thread linking the problem of zoonotic diseases and planetary health with that of geopolitics, biosecurity, bioeconomics and biophilosophies of the plant-animal-human interface. In doing so, the contributions collectively highlight the complexities, challenges, and opportunities for humanity, opening new perspectives on how to inhabit our shared planet. This volume will broadly appeal to scholars and students in anthropology, cultural and media studies, history, philosophy, political science and public health, sociology and science and technology studies.

Commodity, culture and colonialism are intimately related and mutually constitutive. The desire for commodities drove colonial expansion at the same time that colonial expansion fuelled technological invention, created new markets for goods, displaced populations and transformed local and indigenous cultures in dramatic and often violent ways. This book analyses the transformation of local cultures in the context of global interaction in the period 1851–1914. By focusing on episodes in the social and cultural lives of commodities, it explores some of the ways in which commodities shaped the colonial cultures of global modernity. Chapters by experts in the field examine the production, circulation, display and representation of commodities in various regional and national contexts, and draw on a range of theoretical and disciplinary approaches. An integrated, coherent and urgent response to a number of key debates in postcolonial and Victorian studies, world literature and imperial history, this book will be of interest to researchers with interests in migration, commodity culture, colonial history and transnational networks of print and ideas.

Bringing together decolonial, Romantic and global literature perspectives, Transcultural Ecocriticism explores innovative new directions for the field of environmental literary studies. By examining these literatures across a range of geographical locations and historical periods – from Romantic period travel writing to Chinese science fiction and Aboriginal Australian poetry – the book makes a compelling case for the need for ecocriticism to competently translate between Indigenous and non-Indigenous, planetary and local, and contemporary and pre-modern perspectives. Leading scholars from Australasia and North America explore links between Indigenous knowledges, Romanticism, globalisation, avant-garde poetics and critical theory in order to chart tensions as well as affinities between these discourses in a variety of genres of environmental representation, including science fiction, poetry, colonial natural history and oral narrative.

The book presents a long-term ethnographic study of arguably the largest environmental protest action in Australian history. Carsten Wergin offers a timely discussion of the sociocultural and political relevance of heritage and tourism for ecological preservation and the wider decolonial project in Australia and beyond.