Bøger udgivet af Goldsmiths, Unversity of London

A history of the pervasive idea that politics is a marketplace.An original interpretation of the neoliberal order's origins, The Marketizers is essential reading for anyone seeking to understand the marketization of politics since the 1980s. The book traces the origins of the neoliberal order to public choice theory and argues that the reinvention of government on the model of the market would have been unimaginable without the emergence of this body of thought. The separation of provision and production in public services, the introduction of competition between service providers, the treatment of citizens as customers, and the use of performance incentives all have origins in the writings of public choice theorists.From the 1940s through the 1980s, these marketizers gradually eroded the differences between politics and the market as they applied the tools of economics to problems usually considered the purview of political scientists and political philosophers. In response to the extraordinary postwar growth in American public expenditures, they reimagined politics as a marketplace, redefined the relationship between the state and its citizens as a commercial transaction between a firm and its customers, and argued for the marketization of government.

A proposal for countering the futility of neoliberal existence to build an egalitarian, sustainable, and hopeful future.If maximizing utility leads to the greatest happiness of the greatest number of people, as utilitarianism has always proposed, then why is it that as many of us currently maximize our utility--by working endlessly, undertaking further education and training, relentlessly marketing and selling ourselves--we are met with the steady worsening of collective social and economic conditions? In Futilitarianism, social and political theorist Neil Vallelly eloquently tells the story of how neoliberalism transformed the relationship between utility maximization and the common good. Drawing on a vast array of contemporary examples, from self-help literature and marketing jargon to political speeches and governmental responses to the COVID-19 pandemic, Vallelly coins several terms--including "the futilitarian condition," "homo futilitus," and "semio-futility"--to demonstrate that in the neoliberal decades, the practice of utility maximization traps us in useless and repetitive behaviors that foreclose the possibility of collective happiness. This urgent and provocative book chimes with the mood of the time by at once mapping the historical relationship between utilitarianism and capitalism, developing an original framework for understanding neoliberalism, and recounting the lived experience of uselessness in the early twenty-first century. At a time of epoch-defining disasters, from climate emergencies to deadly pandemics, countering the futility of neoliberal existence is essential to building an egalitarian, sustainable, and hopeful future.

An original examination of the ubiquity of glitter—from bodily adornment to activist glitter bombing—and its vibrant and transformational properties.Glitter is everywhere, from crafting to makeup, from vagazelling to glitter-bombing, from fashion to fish. Glitter also gets everywhere. It sticks to what it is and isn't supposed to, and travels beyond its original uses, eliciting reactions ranging from delight to irritation. In Glitterworlds, Rebecca Coleman examines this ubiquity of glitter, following it as it moves across different popular cultural worlds and exploring its effect on understandings and experiences of gender, sexuality, class and race. Coleman investigates how girls engage with glitter in collaging workshops to imagine their futures; how glitter can adorn the outside and the inside of the body; how glitter features in the films Glitter and Precious; and how LGBTQ* activists glitter bomb homophobic and transphobic people.Throughout, Coleman attends to the plurality of politics that glitter generates, approaching this through the concepts of hope, wonder, fabulation, and prefigurative politics—all of which indicate the making of different, better worlds, although often not in ways that are straightforward or conventional. She develops an original account of future politics, where time is nonlinear and sometimes non-progressive. Coleman's argument brings together feminist cultural theory, feminist new materialisms, and theories on futures and temporality, in order to propose that we should understand glitter as a thing—vibrant, processual, transformational, and traversing boundaries between media and material, culture and nature, bodies and environments.

An exploration of the rich and varied relationship between photography and the most recent Argentine dictatorship.Familiar Faces offers a diverse, theoretically rich, and empirically informed exploration of photography in Argentina’s memorial, political, and artistic landscape. During the country’s most recent civic-military dictatorship (1976–1983), 30,000 people were disappeared or killed by the state. Over the decades, vernacular and professional photographs have been central to the Argentine struggle for justice. They were used not only to protest the disappearances under the dictatorship and to denounce the authorities, but also as tools of political and social activism, and for remembering the disappeared.With contributions from leading Argentina-based anthropologists, ethnographers, curators, art scholars, media researchers, and photographers, Familiar Faces moves beyond the traditional considerations of representation, focusing instead on the ways in which photography is continuously reimagined as a tool of memory, mourning, and political and judicial activism. In so doing, it considers the diverse uses of press photography; artistic practice; photographs of the disappeared in domestic rituals; photographs of the inmates of torture centers; the reclamation of images taken by the dictatorial state for memorial and activist purposes. Written and published at a crucial moment in Argentine memory politics, Familiar Faces offers a geographically and formally diverse selection of case studies, with international as well as regional resonance. While firmly rooted in this national context, the book contributes to wider, global debates about the increasingly pervasive role of the photographic image in relation to state-sponsored, large-scale violence.

The history and future of an alternative, oppositional translation practice.The threat of machine translation has given way to an alternative, experimental practice of translation that reflects upon and hijacks traditional paradigms. In much the same way that photography initiated a break in artistic practices with the threat of an absolute fidelity to the real, machine translation has paradoxically liberated human translators to err, to diverge, to tamper with the original, blurring creation and imitation with cyborg collage and appropriation. Seven chapters reimagine seven classic “procedures” of translation theory and pedagogy: borrowing, calque, literal translation, transposition, modulation, equivalence, and adaptation, updating them for the material political and poetic concerns of the contemporary era. Each chapter combines reflections from translation studies and experimental literature with practical guides, sets of experimental translation “procedures” to try at home or abroad, in the classroom, the laboratory, the garden, the dance hall, the city, the kitchen, the library, the shopping center, the supermarket, the train, the bus, the airplane, the post office, on the radio, on your phone, on your computer, and on the internet.

A poverty-stricken veteran of online social justice battles joins with a group of unlikely allies to fight in the war of disinformation before Britain becomes fully totalitarian.The lives of three strangers intersect to bring hope to a beleaguered near-future Britain lurching towards authoritarianism.Libby Seymour is a Civil Servant, military intelligence analyst, Union activist, believer in the equality of justice, and member of the MayGE Committee campaigning for a long-overdue General Election. A colleague tells her the police want a word about something she didn’t do… and she goes on the run with the help of her occasional lover, ex-army doctor, now trauma therapist, Susan Church. Derek Hallett is a British Army officer with an impressive record in special operations. Newly promoted to Major General, he is stunned to be assigned to a secretive job in England. For commercial reasons, Jackson-Burgess (UK) Ltd steps back from administering four work camps designed to reduce poverty in Britain. He swore to the Crown to uphold the rule of law.Kayla Nettleton has two lives. Online, she’s a veteran Cultural Warrior and defender of social justice through hacking. In real life, she’s trapped with her family in a sink estate, and is swept up into the poverty eradication programme run by Jackson-Burgess. Together, the three unlikely allies spearhead a small resistance group to fight back in the Disinformation War.

Ecologies of truth in a post-truth era.The problem with Neo-Nazis is not that they don’t trust the media but that they trust them too much. White supremacists are absolutely convinced by their supremacy. They distrust technologies and climate change as much as the global poor because, as white Europeans, they believe they are exempt from exploitation. This book argues that the only truths possible in the 21st century are mobile, inventive practices involving everything European models of communication exclude: technologies, nature, and leftover humanity. Tracing histories of their separation, Truth analyzes the struggle between the new dominance of information systems and the sensory worlds it excludes, not least the ancestral wisdom that the West has imprisoned in its technologies. The emergent cybernetics of the 1940s has become the dominant ideology of the 21st century. Truth opposes its division of the world between subjects and objects, signals and noise, emphasizing that there can be no return to some primal Eden of unfettered exchange. Instead, these divisions, which have fundamentally reorganized the commodity form that they inherited, are the historical conditions we must confront. Drawing on a wide range of aesthetic practices, from literature, film, art, music, workplace media, scientific instruments, and animal displays, Truth seeks out ways to create a new commons and a new politics grounded in aesthetic properties of creativity, senses and perception that can no longer be restricted to humans alone.

A guide to the doing of critical and creative research with a range of unusual means to apprise places and build ethical relationships.This catalogue of methods draws on the wealth of cutting-edge critical and creative social research from the Goldsmiths Sociology Department to offer an engaged guide to doing research with a range of unexpected relations. The collection focuses on multiple assemblages of objects, media, materials, practices, relations, devices, and atmospheres, spanning methods and topics involving food to activism, knitting to ghosts, theater to documents, collaging to corridors. Through hands-on discussions of the practicalities, ethics, and politics of doing social research, the catalogue showcases a wide range of examples of what methods might mean and do. It builds a case for an understanding of contemporary social research as interdisciplinary, responsive, dynamic, vital, and urgent in studying and shaping social worlds. Goldsmiths Sociology Department is internationally recognized as being at the forefront of some of the most daring, original and unconventional methodological innovation. Their unbounded approach to social research offers textured yet clear paths through the problems and issues before us, as contributors present the methodological puzzles they have become knotted with. The short and imaginative case studies offer new ways of teaching, learning, and doing lively and rigorous research. This is research as close-up observations, infrastructural interventions and imaginative play. How to Do Social Research With … will be essential for anyone interested in expanding their repertoire of social research methods.

An investigation of the cultures and technologies of early radio and how a generation of cultural operators—with Schoen at the center—addressed crisis and adversity.Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might.Dissonant Waves tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises.An exploration of the ripples of radio waves, the circuits of experimentation and friendship, and the proposals that half-found a route into the world—and might yet spark political-technical experimentation.

A science-fiction novel involving clones, a psychic, and empathy as a recreational drug.We have always been we. Then they forced us to become you and I…Empathy consists of two stories told in parallel. Vuong is one of five Vietnamese clones that have come of age at 25. The Department in Hanoi is allowing them to meet after being separated for twenty years. Lian has murdered her foster father after being forced to eat meat. Geraldine is dying of cancer in Australia. Giang and Khanh were brought up together as twins in New Zealand and are telepathic. They have been used for research over their lifetimes. Vuong discovers that the data kept on all of them has been used to develop empathy, the latest party drug.My meets Truong in Berlin who introduces her to empathy which makes the user supersensitive to other people's feelings. My's mother is a cleaner at CHESS, a multinational chemical company, and My comes to believe her mother is ex-Stasi and an industrial spy for Vietnamese government. My comes down from the drug after hearing about the saturation point when the penetration of empathy would be such that the world's population would be pacified. She discovers that Truong is actually the one who is in the pay of the Vietnamese government and her mother is just a cleaner. She tries to out the conspiracy in the media but no one believes her…

"Poems about historical women in STEM fields. Hilarious, heart-breaking, and perfectly pitched, these carefully researched poems about historical women in science, technology, engineering, mathematics, and medicine will bring you to both laughter and outrage in just a few lines. A wickedly funny, feminist take on the lives and work of women who resisted their parents, their governments, the rules and conventions of their times, and sometimes situations as insidious as a lack of a women's bathroom in a college science building."--

"When his mother died, Timothy C. Baker discovered that there was almost no record of her existence, and no stories that were his to tell: the only way to bring her back was through reading. Reading My Mother Back is a genre-bending memoir that explores a life marked by trauma, illness, religion, and abuse through a focus on the books Baker and his mother shared. The book combines accounts of rereading childhood classics with true and apocryphal stories of a quiet life, marked by great sorrow and great joy. The book is about grief and memory and how our childhood reading shapes the way we see the world; it's about loneliness and the search for belonging; it's about how ordinary lives are transfigured by storytelling. Moving from accounts of American evangelical communities to kidney failure, from literary criticism to psychoanalysis, and from guilt to love, Baker shows how literature provides a framework for understanding our experiences, and offers a way of connecting with everything we have lost. The book illustrates how children's animal stories bring us into a love of the world, and how acts of rereading become a way not of assuaging grief, but of bringing the past and present together. Reading My Mother Back offers a bold and personal view of why the stories we read and share matter so much. And there are bunnies."--

A feminist analysis of young women and popular culture and a forceful critique of male domination in youth culture.Feminism, Young Women and Cultural Studies: Birmingham Essays from 1975 Onwards by Angela McRobbie brings together the Birmingham University Centre for Contemporary Cultural Studies (CCCS) essays of the 1970s and ‘80s with a new introductory chapters and four new chapters of updated analysis on music, magazines, vintage fashion and youth culture. The early work provides both a feminist analysis of young women and popular culture as well as a forceful critique of male domination in youth culture and the ways in which an ideology of adolescent femininity functioned so as to subdue and restrain young women in passive and subordinate gender unequal positions. These chapters also shine a light on the kinds of methodologies being developed at Birmingham University CCCS as cultural studies was emerging as a distinct field of study. These essays when first published found their way onto the university undergraduate curriculum across the world and were translated into many languages. Adopting an intersectional perspective and engaging with questions such as the “category of the girl,” the new chapters extend the field of study in a lively and accessible sociological voice. The book will be of keen interest for students in Sociology, Media and Cultural Studies and Literary Studies.

A transdisciplinary study of the ways in which mobilities assume social forms and result in multiple belongings.In Decolonial Imaginings, Avtar Brah offers a transdisciplinary study of the ways in which mobilities assume social forms and result in multiple belongings. Situated within the confluence of decolonial feminist theory, border theory, and diaspora studies, the book explores borders and boundaries and how politics of connectivity are produced in and through struggles over “difference.” Brah examines multiple formations of power embedded in the intersections between gender, race, class, ethnicity, and sexuality. She analyzes this intersectionality in relation to diaspora; theorizes the relationship between diaspora, law, and literature; and between affect, memory, and cultural politics. Discussing the crossings of impervious borders, Brah foregrounds the economies of abandonment, particularly the plight of people in boats in the Mediterranean, a number of whom perished because of a catalogue of failures by NATO warships and European coast guards. She revisits Gilles Deleuze and Felix Guattari’s notion of “nomad thought” and Braidotti’s feminist reworking of it, and it seeks to assess this framework’s value today. She analyzes the politics of “Black” in Britain with a focus on feminism constituted by women of African Caribbean and South Asian background, explores stereotypic representation of Muslim women in the context of Islamophobia and anti-Muslim racism, and considers the complexities of the #MeToo movement and how whiteness is configured in these contestations. 

A rich collection of essays tracing the relationship between art and sound.In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art.Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works.Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.

A critical and evidence-based account of the COVID-19 pandemic as a political–economic rupture, exposing underlying power struggles and social injustices.The dawn of the COVID-19 pandemic represented an exceptional interruption in the routines of work, financial markets, movement across borders and education. The policies introduced in response were said to be unprecedented—but the distribution of risks and rewards was anything but. While asset-owners, outsourcers, platforms and those in spacious homes prospered, others faced new hardships and dangers.   Unprecedented? explores the events of 2020-21, as they afflicted the UK economy, as a means to grasp the underlying dynamics of contemporary capitalism, which are too often obscured from view. It traces the political and cultural contours of a "rentier nationalism," that was lurking prior to the pandemic, but was accelerated and illuminated by COVID-19. But it also pinpoints the contradictions and weaknesses of this capitalist model, and the new sources of opposition that it meets.   An empirical, accessible and critical analysis of the COVID economy, Unprecedented? is essential reading for anyone seeking to understand the political and economic turbulence of the pandemic’s first eighteen months.

An entertaining and engaging social and cultural history of the London community of Peckham that offers lessons in urban living."Is there life in Peckham?" asks a pop song of the 1980s. Peckham has been treated as a joke and a place to be avoided. It has been celebrated in television comedies, and denigrated for its levels of crime. It is a center for the arts and the creative industries, yet it also suffers from social deprivation and racial tension. Passport to Peckham is a guide to an unofficial part of London-social and cultural history written from the ground up. In this entertaining and engaging account, Hewison invites readers to explore Peckham's streets and presents the portrait of a community experiencing the stresses of modern living. Old and new residents rub against each other as they try to adjust to the challenges created by urban regeneration and the more subtle process of gentrification. Artists have lived and worked in Peckham for more than a century, and now Caribbean and West African communities are adding their own flavors in terms of music, drama, poetry, and film. Focused on a few square miles, Passport to Peckham raises issues of urban policy, planning, culture, and creativity that have a far wider application. As London and other major cities recover from the COVID crisis, are there lessons in urban living to be learned from the pleasures and pains of Peckham? The answer from one of Britain's most distinguished cultural critics is an emphatic yes.

A memoir and cultural history the World's End, a West London area once home to bohemian artists and punk rock and now an outpost of neoliberalism.Charlie Gere's account of growing up in the World's End area of West London during the Cold War combines local history, cultural history, memoir, and a strong sense of the apocalyptic. Once a rundown part of Chelsea at the wrong end of the King's Road, the World's End has long been a place for bohemian writers and artists, including Turner, Whistler, Beckett, Bacon, and Bacon's muse Henrietta Moraes, all of whom evinced an appropriate apocalyptic sensibility. After World War II, in which the area suffered severe bombing, it became a center of the counterculture that emerged from what Jeff Nuttall called "Bomb Culture," formed by the threat of nuclear annihilation. The famous boutique Granny Takes a Trip opened there in 1966, joined later on by Hung On You, Puss Weber's Flying Dragon Tea Room, and the commune Gandalf's Garden. The area also featured trepanning aristocrats and pet lions, among other eccentricities. In the 1970s, the World's End was the center of punk rock. Gere's parents arrived as part of a wave of gentrification, and Gere, born and brought up there, witnessed its social and cultural evolution. As an adolescent, he was traumatized by the prospect of nuclear war. He has lived long enough to see the World's End now bearing the marks of out-of-control neoliberalism and its grotesque accompanying inequality. But this too shall pass as worlds end.

An investigation of the future of various media industries and technologies that considers how media shape our future.How do we combat post-truth in the news? Are social media influencers the journalists of today? What is it like to live in a smart city? Does AI really change "everything"? The Future of Media investigates the future of media industries and technologies (journalism, TV, film, photography, radio, publishing, social media), while exploring how media shape our future-on a political, economic, cultural and individual level. Issues of diversity, media reform, labour, activism and art take the discussion into a wider social context. Through this, the book celebrates the importance and vitality of media in the modern world. The Future of Media is also an experiment in collaborative modes of thinking and working. Co-authored by theorists and practitioners from one of the world's most established media departments, it offers a radical, creative and critical take on media industries-and on world affairs.

How EU data practices establish and assign people to categories, and how this matters in enacting--"making up"--Europe as a population and people.What is "Europe" and who are "Europeans"? Data Practices approaches this contemporary political and theoretical question by treating it as a practical problem of counting. Only through the myriad data practices that make up methods such as censuses can EU member states know their national populations, and this in turn is utilized by the EU to understand the population of Europe. But this volume approaches data practices not simply as reflecting populations but as performative in two senses: they simultaneously enact--that is, "make up"--a European population and, by so doing--intentionally or otherwise--also contribute to making up a European people.The book develops a conception of data practices to analyze and interpret findings from collaborative ethnographic multisite fieldwork conducted by an interdisciplinary team of social science researchers as part of a five-year project, Peopling Europe: How Data Make a People. The book focuses on data practices that involve establishing and assigning people to categories and how this matters in enacting Europe as a population and people. Five core chapters explore key categories of people--usual residents, refugees, homeless people, migrants, and ethnic minorities--and how they come into being through specific data practices such as defining, estimating, recalibrating and inferring. Two additional chapters address two key subject positions that data practices produce and require: the data subject and the statistician subject.

How artificial intelligence and robotics are transforming the future of love and desire: a philosophical thriller and essays.A chance encounter between two women and a road trip into the future: It''s Christmas Eve, and Scarlett, banker-turned-technologist, is leaving a secret underground lab to catch the last flight that will get her home in time to open presents with her three-year-old son. She offers a lift to a young woman in distress, who shares her intimate life story as they drive to the airport. These revelations will have devastating consequences for both of them. The Love Makers is a philosophical thriller about female friendship, class, motherhood, women, and work--and how artificial intelligence and robotics are transforming the future of love and desire. Aifric Campbell combines her novel with essays from leading scientists and commentators who examine what''s at stake in our human-machine relationships. What is our future as friends, parents, lovers? Will advances in intelligent machines reverse decades of progress for women? From robot nannies to generative art and our ancient dreams of intelligent machines, The Love Makers blends storytelling with science communication to investigate the challenges and opportunities of emergent technologies and how we want to live. ContributorsRonny Bogani, Joanna J. Bryson, Julie Carpenter, Stephen Cave, Anita Chandran, Peter R. N. Childs, Kate Devlin, Kanta Dihal, Mary Flanagan, Margaret Rhee, Amanda Sharkey, Roberto Trotta, E. R. Truitt, and Richard Watson

Why we must forget photography and reject the frame of reality it prescribes and delineates.The central paradox this book explores is that at the moment of photography''s replacement by the algorithm and data flow, photographic cultures proliferate as never before. The afterlife of photography, residual as it may technically be, maintains a powerful cultural and representational hold on reality, which is important to understand in relationship to the new conditions. Forgetting photography is a strategy to reveal the redundant historicity of the photographic constellation and the cultural immobility of its epicenter. It attempts to liberate the image from these historic shackles, forged by art history and photographic theory. More important, perhaps, forgetting photography also entails rejecting the frame of reality it prescribes and delineates, and in doing so opens up other relationships between bodies, times, events, materials, memory, representation and the image. Forgetting photography attempts to develop a systematic method for revealing the limits and prescriptions of thinking with photography, which no amount of revisionism of post-photographic theory can get beyond. The world urgently needs to unthink photography and go beyond it in order to understand the present constitution of the image as well as the reality or world it shows. Forgetting photography will require a different way of organizing knowledge about the visual in culture that involves crossing different knowledges of visual culture, technologies, and mediums. It will also involve thinking differently about routine and creative labor and its knowledge practices within the institutions and organization of visual reproduction.

An examination of science fiction narratives and the light they shed on human life, the unknowable future, and the vagaries of unforeseeable change.With this book, Steven Shaviro offers a thought experiment. He discusses a number of science fiction narratives: three novels, one novella, three short stories, and one musical concept album. Shaviro not only analyzes these works in detail but also uses them to ask questions about human, and more generally, biological life: about its stubborn insistence and yet fragility; about the possibilities and perils of seeking to control it; about the aesthetic and social dimensions of human existence, in relation to the nonhuman; and about the ethical value of human life under conditions of extreme oppression and devastation. Shaviro pursues these questions through the medium of science fiction because this form of storytelling offers us a unique way of grappling with issues that deeply and unavoidably concern us but that are intractable to rational argumentation or to empirical verification. The future is unavoidably vague and multifarious; it stubbornly resists our efforts to know it in advance, let alone to guide it or circumscribe it. But science fiction takes up this very vagueness and indeterminacy and renders it into the form of a self-consciously fictional narrative. It gives us characters who experience, and respond to, the vagaries of unforeseeable change.

The politics of race in British screen culture over the last 30 years vis-a-vis the institutional, textual, cultural and political shifts that have occurred during this period.This book considers the politics of race in British screen culture over the last thirty years, addressing the institutional, textual, cultural, and political shifts that have occurred during this period. An edited collection of essays by Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford, it offers a diverse range of responses from emerging and established scholars and practitioners. They explore these topics through the optic of film, TV, moving image, from the perspectives of media and communications, sociology, politics and cultural studies.ContributorsBidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford

How black electronic dance music makes it possible to reorganize life within the contemporary city.Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban--ecologies that can never simply be reduced to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music''s class character makes it possible to reorganize life within the contemporary city.Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiment with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Teklife, Ghettoville, Eski foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life.Pushing the critical debates concerning the phonic materiality of blackness, undercommons, and aesthetic sociality in new directions, Teklife, Ghettoville, Eski rethinks these concepts through concrete examples of contemporary black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism.