Annie McClanahan: Dead Pledges: Debt, Crisis, and Twenty-First-Century Culture (2016)

24 April 2018, dusan

Dead Pledges is the first book to explore the ways that U.S. culture—from novels and poems to photojournalism and horror movies—has responded to the collapse of the financialized consumer credit economy in 2008. Connecting debt theory to questions of cultural form, this book argues that artists, filmmakers, and writers have re-imagined what it means to owe and to own in a period when debt is what makes our economic lives possible. Encompassing both popular entertainment and avant-garde art, the post-crisis productions examined here help to map the landscape of contemporary debt: from foreclosure to credit scoring, student debt to securitized risk, microeconomic theory to anti-eviction activism. A searing critique of the ideology of debt, Dead Pledges dismantles the discourse of moral obligation so often invoked to make us repay. Debt is no longer a source of economic credibility, it contends, but a system of dispossession that threatens the basic fabric of social life.”

Publisher Stanford University Press, 2016
Post ’45 series
ISBN 9780804799058, 0804799059
ix+235 pages

Reviews: Brian Whitener (The New Inquiry, 2017), Sofia Cutler (LA Review of Books, 2017), Julian Murphet (Affirmations, 2017), Davis Smith-Brecheisen (Mediations, 2017), Arne De Boever (boundary2, 2017), Laura Finch (Journal of Cultural Economy, 2018).

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The Social Life of Artistic Property (2014)

12 November 2017, dusan

“In the wake of Occupy Wall Street, 12 artists gathered for 20 meetings over two and a half years, discussing property both physical (studios and homes) and artistic. Rather than present raw transcripts of their conversations, the authors individually or collaboratively penned chapters on relevant issues. We get historical case studies alongside a host of topical issues affecting artists’ abilities to work, such as the French droit de suite, the right to resale royalties of artists and their heirs. Michael Mandiberg offers a significant oral history of 135 Rivington Street, a collectively artist-owned building purchased in 1981 by a group of art school alumni, a virtual impossibility in today’s real estate game.” (ArtNews)

By Pablo Helguera, Michael Mandiberg, William Powhida, Amy Whitaker, and Caroline Woolard
Self-published, 2014
Creative Commons BY-SA License
ISBN 9780984475025
110 pages

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Alexander G. Weheliye: Habeas Viscus: Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human (2014)

11 November 2017, dusan

Habeas Viscus focuses attention on the centrality of race to notions of the human. Alexander G. Weheliye develops a theory of ‘racializing assemblages,’ taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye’s argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western man. Weheliye posits black feminist theories of modern humanity as useful correctives to the ‘bare life and biopolitics discourse’ exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.”

Publisher Duke University Press, Durham, 2014
ISBN 9780822356912, 0822356910
x+209 pages

Reviews: Ashon Crawley (LARB, 2015), Marianna Szczygielska (Parallax, 2015), Aditi Surie von Czechowski (Comp Stud South Asia, Africa and Middle East, 2015), Marianela Munoz and Charles Holm (Afro-Paradise, 2015), Megan H. Glick (Hypatia Rev, 2015), Shelleen Greene (Somatechnics, 2016), Amber Jamilla Musser (philoSOPHIA, 2016), Gabriela Radulescu (Allegra Lab, 2016), Ander Mendiguren Nebreda (Athenea Digital, 2017, ES).

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