During the 1970s, London-based photographers joined together to form collectives which engaged with local and international political protest in cities across the UK. This book is a survey of the radical community photography that these collectives produced. The photographers derived inspiration from counterculture while finding new ways to produce, publish and exhibit their work. They wanted to do things in their own way, to create their own magazines and exhibition networks, and to take their politicised photographic and textual commentary on the re-imagination of British cities in the post-war period into community centres, laundrettes, Working Men's Clubs, polytechnics, nurseries - anywhere that would have them. The laminated panel exhibitions were sufficiently robust, when packed into a laundry box, to withstand circulation round the country on British Rail's Red Star parcel network. Through archival research, interviews and newly discovered photographic and ephemeral material, this tells the story of the Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, producers of Camerawork magazine, and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project. It reveals how they created a 'history from below', positioning themselves outside of established mainstream media, and aiming to make the invisible visible by bringing the disenfranchised and marginalised into the political debate.

Brilliant...explains how the rhetoric of competition has invaded almost every domain of our existence." —Evgeny Morozov, author of To Save Everything, Click Here" "In this fascinating book Davies inverts the conventional neoliberal practice of treating politics as if it were mere epiphenomenon of market theory, demonstrating that their version of economics is far better understood as the pursuit of politics by other means." —Professor Philip Mirowski, University of Notre Dame "A sparkling, original, and provocative analysis of neoliberalism. It offers a distinctive account of the diverse, sometimes contradictory, conventions and justifications that lend authority to the extension of the spirit of competitiveness to all spheres of social life...This book breaks new ground, offers new modes of critique, and points to post-neoliberal futures." —Professor Bob Jessop, University of Lancaster Since its intellectual inception in the 1930s and its political emergence in the 1970s, neo-liberalism has sought to disenchant politics by replacing it with economics. This agenda-setting text examines the efforts and failures of economic experts to make government and public life amenable to measurement, and to re-model society and state in terms of competition. In particular, it explores the practical use of economic techniques and conventions by policy-makers, politicians, regulators and judges and how these practices are being adapted to the perceived failings of the neoliberal model. By picking apart the defining contradiction that arises from the conflation of economics and politics, this book asks: to what extent can economics provide government legitimacy? Now with a new preface from the author and a foreword by Aditya Chakrabortty.

Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.

A straightforward-yet-personal visual documentation of protests, parades, and the punk scene in New Orleans from 2015 to 2020

John Walker brings to vivid life a neglected period in twentieth-century art history. He re-creates a time when visual fine artists, under the impact of left-wing politics, women's liberation and the gay movement, were seeking to re-establish a social purpose. His story is one of a struggle for art by contending factions in the art world, in which artists, curators, critics and organisations - both establishment and alternative - key exhibitions, galleries and magazines, all play a part. He offers welcome insight into the work of the key players and the many forms they used to express radical engagement in the events of the decade.

Conspiracy theories are inevitable in complex human societies. And while they have always been with us, their ubiquity in our political discourse is nearly unprecedented. Their salience has increased for a variety of reasons including the increasing access to information among ordinary people, a pervasive sense of powerlessness among those same people, and a widespread distrust of elites. Working in combination, these factors and many other factors are now propelling conspiracy theories into our public sphere on a vast scale. In recent years, scholars have begun to study this genuinely important phenomenon in a concerted way. In Conspiracy Theories and the People Who Believe Them, Joseph E. Uscinski has gathered forty top researchers on the topic to provide both the foundational tools and the evidence to better understand conspiracy theories in the United States and around the world. Each chapter is informed by three core questions: Why do so many people believe in conspiracy theories? What are the effects of such theories when they take hold in the public? What can or should be done about the phenomenon? Combining systematic analysis and cutting-edge empirical research, this volume will help us better understand an extremely important, yet relatively neglected, phenomenon.

The Triumph of Politics offers a comparative and historical interpretation of Venezuela's Chavez, Bolivia's Morales and Ecuador's Correa - South America's most prominent ‘21st century socialists'. It argues that the claims of these 21st century socialists should be taken seriously even though not necessarily at face value. The authors show how the consensual market oriented policymaking that characterized almost all of South America in the 1990s has now given way to something quite different. Polarization and intense political conflict have returned to much of the region. Although the Left has not always been the beneficiary of this changed pattern, the ‘21st century' governments of Chavez, Morales and Correa have been agenda setters. The questions raised by their emergence, style of governance and policy orientations resonate across Latin America and beyond. It is likely that the kind of politics with which they have been associated will be influential in the region for quite some time to come.