A groundbreaking look at sixty works of anarchist architecture. This book documents and illustrates sixty projects, past and present, that key into a libertarian ethos and desire for diverse self-organized ways of building. They are what this book calls "anarchist" architecture, that is, forms of design and building that embrace the core values of traditional anarchist political theory since its divergence from the mainstream of socialist politics in the nineteenth century. As Architecture and Anarchism shows, a vast range of architectural projects reflect some or all of these values, whether they are acknowledged as specifically anarchist or not. From junk playgrounds to Freetown Christiania, Slab City to the Calais Jungle, isolated cabins to intentional communities--all are motivated by core values of autonomy, voluntary association, mutual aid, and self-organization. Taken as a whole, they are meant as an inspiration to build less uniformly, more inclusively, and more freely. This book broadens existing ideas about what constitutes anarchism in architecture and argues for its nurturing in the built environment. Understood in this way, anarchism offers a powerful way of reconceptualizing architecture as an emancipatory, inclusive, ecological, and egalitarian practice.

This book elaborates and defends law without the state. It explains why the state is illegitimate, dangerous and unnecessary.

In these days of an aging traditional audience, shrinking attendance, tightened budgets, increased competition, and exponential growth in new types of communication methods, America’s house museums need to take bold steps and expand their overall purpose beyond those of the traditional museum. They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. This book is a groundbreaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation. It draws inspiration from film, theater, public art, and urban design to transform historic house museums while providing a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter’s authenticity. Anarchist's Guide to Historic House Museums offers a wry, but informed, rule-breaking perspective from authors with years of experience and gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.

In the nineteenth century anarchists were accused of conspiracy by governments afraid of revolution, but in the current century various “conspiracy theories” suggest that anarchists are controlled by government itself. The Illuminati were a network of intellectuals who argued for self-government and against private property, yet the public is now often told that they were (and are) the very group that controls governments and defends private property around the world. Intervening in such misinformation, Lagalisse works with primary and secondary sources in multiple languages to set straight the history of the Left and illustrate the actual relationship between revolutionism, pantheistic occult philosophy, and the clandestine fraternity. Exploring hidden correspondences between anarchism, Renaissance magic, and New Age movements, Lagalisse also advances critical scholarship regarding leftist attachments to secular politics. Inspired by anthropological fieldwork within today’s anarchist movements, her essay challenges anarchist atheism insofar as it poses practical challenges for coalition politics in today’s world. Studying anarchism as a historical object, Occult Features of Anarchism also shows how the development of leftist theory and practice within clandestine masculine public spheres continues to inform contemporary anarchist understandings of the “political,” in which men’s oppression by the state becomes the prototype for power in general. Readers behold how gender and religion become privatized in radical counterculture, a historical process intimately linked to the privatization of gender and religion by the modern nation-state.