In Eco-Performance, Art, and Spatial Justice in the US, Courtney B. Ryan traces how urban artists in the US from the 1970s until today contend with environmental domestication and spatial injustice through performance. In theater, art, film, and digital media, the artists featured in this book perform everyday, spatialized micro-acts to contest the mutual containment of urbanites and nonhuman nature. Whether it is plant artist Vaughn Bell going for a city stroll in her personal biosphere, photographer Naima Green photographing Black urbanites in lush New York City parks, guerrilla gardeners launching seed bombs into abandoned city lots, or a satirical tweeter parodying BP’s response to the 2010 Deepwater Horizon oil spill, the subjects in this book challenge deeply engrained Western directives to domesticate nonhuman nature. In examining how urban eco-artists perform alternate ecologies that celebrate the interconnectedness of marginalized human, vegetal, and aquatic life, Ryan suggests that small environmental performances can expose spatial injustice and increase spatial mobility. Bringing a performance perspective to the environmental humanities, this interdisciplinary text offers readers stymied by the global climate crisis a way forward. It will appeal to a wide range of students and academics in performance, media studies, urban geography, and environmental studies.

There can be no justice that is not spatial. Against a recent tendency to despatialise law, matter, bodies and even space itself, this book insists on spatialising them, arguing that there can be neither law nor justice that are not articulated through and in space. Spatial Justice presents a new theory and a radical application of the material connection between space – in the geographical as well as sociological and philosophical sense – and the law – in the broadest sense that includes written and oral law, but also embodied social and political norms. More specifically, it argues that spatial justice is the struggle of various bodies – human, natural, non-organic, technological – to occupy a certain space at a certain time. Seen in this way, spatial justice is the most radical offspring of the spatial turn, since, as this book demonstrates, spatial justice can be found in the core of most contemporary legal and political issues – issues such as geopolitical conflicts, environmental issues, animality, colonisation, droning, the cyberspace and so on. In order to ague this, the book employs the lawscape, as the tautology between law and space, and the concept of atmosphere in its geological, political, aesthetic, legal and biological dimension. Written by a leading theorist in the area, Spatial Justice: Body, Lawscape, Atmosphere forges a new interdisciplinary understanding of space and law, while offering a fresh approach to current geopolitical, spatiolegal and ecological issues.

In the context of increasing division and segregation in cities across the world, along with pressing concerns around austerity, environmental degradation, homelessness, violence, and refugees, this book pursues a multidisciplinary approach to spatial justice in the city. Spatial justice has been central to urban theorists in various ways. Intimately connected to social justice, it is a term implicated in relations of power which concern the spatial distribution of resources, rights and materials. Arguably there can be no notion of social justice that is not spatial. Philippopoulos-Mihalopoulos has argued that spatial justice is the struggle of various bodies – human, natural, non-organic, technological – to occupy a certain space at a certain time. As such, urban planning and policy interventions are always, to some extent at least, about spatial justice. And, as cities become ever more unequal, it is crucial that urbanists address questions of spatial justice in the city. To this end, this book considers these questions from a range of disciplinary perspectives. Crossing law, sociology, history, cultural studies, and geography, the book’s overarching concern with how to think spatial justice in the city brings a fresh perspective to issues that have concerned urbanists for several decades. The inclusion of empirical work in London brings the political, social, and cultural aspects of spatial justice to life. The book will be of interest to academics and students in the field of urban studies, sociology, geography, planning, space law, and cultural studies.

This book investigates how contemporary artistic practices engage with the body and its intersection with political, technological, and ethical issues. Departing from the relationship between corporeality and performing arts (such as theater, dance, and performance), it turns to a pluriversal understanding of embodiment that resides in the extra violent conditions of contemporary global necro-capitalism in order to conduct a thorough analysis that goes beyond arts and culture. It brings together theoretical academic texts by established and emerging scholars alike, exposing perspectives form different fields (philosophy, cultural studies, performance studies, theater studies, and dance studies) as well as from different geopolitical contexts. Through a series of thematic clusters, the study explores the reactivation of the body as a site of a new meaning-making politics.

This book considers the question of spatial justice after apartheid from several disciplinary perspectives – jurisprudence, law, literature, architecture, photography and psychoanalysis are just some of the disciplines engaged here. However, the main theoretical device on which the authors comment is the legacy of what in Carl Schmitt’s terms is nomos as the spatialised normativity of sociality. Each author considers within the practical and theoretical constraints of their topic, the question of what nomos in its modern configuration may or may not contribute to a thinking of spatial justice after apartheid. On the whole, the collection forces a confrontation between law’s spatiality in a “postcolonial” era, on the one hand, and the traumatic legacy of what Paul Gilroy has called the “colonial nomos”, on the other hand. In the course of this confrontation, critical questions of continuation, extension, disruption and rewriting are raised and confronted in novel and innovative ways that both challenge Schmitt’s account of nomos and affirm the centrality of the constitutive relation between law and space. The book promises to resituate the trajectory of nomos, while considering critical instances through which the spatial legacy of apartheid might at last be overcome. This interdisciplinary book will appeal to scholars of critical legal theory, political philosophy, aesthetics and architecture.

The long cultural moment that arose in the wake of 9/11 and the conflict in the Middle East has fostered a global wave of surveillance and counterinsurgency. Performance in a Militarized Culture explores the ways in which we experience this new status quo. Addressing the most commonplace of everyday interactions, from mobile phone calls to traffic cameras, this edited collection considers: How militarization appropriates and deploys performance techniques How performing arts practices can confront militarization The long and complex history of militarization How the war on terror has transformed into a values system that prioritizes the military The ways in which performance can be used to secure and maintain power across social strata Performance in a Militarized Culture draws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.