A single black-and white photograph taken by Babette Mangolte has come to epitomize New York's downtown art scene of the 1970s. The dancers performing Trisha Brown?s 'Roof Piece' characterize perfectly the wild spirit of the time. Choreographed as an echo of movement unfolding across SoHo?s rooftops, the dancers mimed the chimneys, water towers, and fire escapes which surrounded them across that skyline. Influenced early on by Dziga Vertov?s 'Man with a Movie Camera' and the work of Stan Brakhage and Jonas Mekas, Mangolte began studies in 1964 at the renowned École nationale de la photographie et de la cinematographie in Paris, one of the school?s first female students. In 1970, having become disillusioned with the film scene in France, Mangolte moved to New York and became involved in the avant-garde film and dance milieus of the Kitchen and the Anthology Film Archives.00'Selected Writings, 1998?2015' is a collection of texts by Mangolte in which she reflects on her practice as a photographer and filmmaker and her collaborative work with filmmakers, artists, dancers, and choreographers. She provides insights into the techniques and methods she created as well as her relationships with notable collaborators such as Marina Abramovi?, Chantal Akerman, Trisha Brown, and Yvonne Rainer.00Exhibition: Kunsthalle Wien, Austria (18.12.2016 - 12.02.2017).

This special guest-edited issue extends the current discussions of art (inclusive of interior/ spatial design and architecture) as a process of social cognition and to address the gap between descriptions of embodied cognition and the co-construction of lived experience. Papers and exhibitions presented at the 2019 Bodies of Knowledge Conference have been advanced significantly as research articles and visual essays to focus on interdisciplinary connections across research practices that involve art and theories of cognition. These contributions emphasise how spatial art and design research approaches have enabled the articulation of a complex understanding of environments, spaces and experiences, including the spatial distribution of cultural, organizational and conceptual structures and relationships, as well as surrounding design features. Contributions address the following questions: • How do art and spatial practices increase the potential for knowledge transfer and celebrate diverse forms of embodied expertise? • How the examination of cultures of practice, Indigenous knowledges and cultural practices offer perspectives on inclusion, diversity, neurodiversity, disability and social justice issues? • How the art and spatial practices may contribute to research perspectives from contemporary cognitive neuroscience and the philosophy of mind? • The dynamic between an organism and its surroundings for example: How does art and design shift the way knowledge and thinking processes are acquired, extended and distributed? • How do art and design practices demonstrate the ways different forms of acquiring and producing knowledge intersect?

“Lucid, lively and extremely knowledgeable.” Sight & Sound Catherine Fowler's study positions Jeanne Dielman as a 'contrary' classic, its contrariness arising from director Chantal Akerman's decision to frame an unliberated housewife through a kind of 'slow looking'. By choosing to stay with Jeanne in the kitchen, the film both 'differences' the canon and diverges from Akerman's liberated early films, which involved the rejection of domestic space, married life and the heterosexual script. Fowler draws on original footage, scripts, unmade and unseen projects, interviews and other documents to painstakingly piece together the making of the film, discovering an alternative origin story which centers upon female alliances, forged through a combination of shared film culture and lived sexism. Those viewers who take up Akerman's invitation to spend time with Jeanne will find their expectations of cinema are changed. Because more than any other film before or since, it reminds us that we give our time to a film; and in making us look both harder and for longer it asks us to feel time slipping away, for ourselves as much as for its protagonist.

The art of Harry Gamboa Jr. encompasses photography, video, performance, installation, essays, fiction, poetry, and lesser-known forms of his own creation. Working in the tradition of Bertolt Brecht and Samuel Beckett, Gamboa has pioneered multimedia formats for nearly three decades, setting a precedent for the work of artists such as Coco Fusco, Guillermo Gomez-Pena, and Daniel J. Martinez. Urban Exile gathers Gamboa's diverse creations in a visually compelling collection that reveals a rich vein of Chicano avant-garde production reaching back to the early 1970s. Gamboa was a founding member of Asco (1972-1987), the East L.A. multimedia art group that critically satirized high art and cinema while parodying the utopian nationalism of the Chicano Arts Movement. Urban Exile comprises works Gamboa created with Asco as well as solo efforts -- Mexican fotonovelas rewritten as performance pieces, mail art, No Movies (images presented as stills from nonexistent movies). Firmly grounded in the megalopolis of Los Angeles, these texts present a unique perspective on the bizarre racialized and class-stratified fabric of that city -- the "urban desert in ruins". Gamboa's work is crucial to an understanding not only of Chicano art but also of the post-1968 avant-garde in the United States; he consistently debunks traditional categories, creates innovative alternatives, and reveals a history rendered invisible by the dominant art institutions and media industries. Sometimes hilarious, sometimes dreamlike, always unexpected, these texts present a compelling critique of urban life at the end of the millennium and are essential reading for all "orphans of modernism".

Every day, we hear about war, state repression, uprisings, suicide bombing, gang warfare, slavery and domestic abuse. Is it realistic to think of a future that is free from violence? And can we justify the paradox of violence in pursuit of a peaceful future? Nick Hewlett places the goal of a wholly peaceful society centre-stage to give us a new understanding of violence in pursuit of peace. Hewlett brings together the modern history of capitalist violence and communist violence; political thought on insurgent violence; a passionate defence of the idea of peace and non-violence; and the political economy of contemporary capitalism. He explores topics ranging from the prospects for peace and non-violence to Fidel Castro's ethics of guerrilla warfare, and from the brutality of US foreign policy and the violence of historical communism to the meaning of terrorism today. Strongly argued and supported by a wealth of facts, Blood and Progress is suffused with the profound belief that we need to go beyond the inequalities and injustices of the current age and towards societies characterised by equality, deep democracy and peace.

Collected texts by cultural critic, auto/biographer, and lesbian icon Jill Johnston. Jill Johnston—cultural critic, auto/biographer, and lesbian icon—began her career at the Village Voice as a critic of dance and performance, writing about Merce Cunningham, Martha Graham, the activities at Judson Church, Allan Kaprow and Happenings, Fluxus, and the downtown New York art scene. The column eventually became more personal than critical, allowing her to discuss her life, her sexuality, and her politics. This book brings together thirty texts Johnston wrote for the Voice between 1960 and 1974, beginning with her early dance coverage and continuing though the time when, as she put it, the column moved “from the theatre of dance and happenings toward the theatre of my life.” As Johnston abandoned an objective critical standpoint, her column interwove forms and formats, and political, literary, art-historical, and critical perspectives, taking turns and loops, reflecting its time and contexts—with the one constant being Johnston's unmistakable, witty, intimate voice. As a person and as a writer she pioneered a model that not only challenged notions of writerly appropriateness but also performed and created a new lesbian identity. T his collection also includes texts by Ingrid Nyeboe, Johnston's long-time partner and spouse; Bruce Hainley; and Jennifer Krasinski. An appendix collects material related to a 1969 panel discussion organized by Johnston (featuring Andy Warhol, Ultra Violet, and Carolee Schneemann, among others) that gives this volume its title: “The Disintegration of a Critic: An Analysis of Jill Johnston.” Copublished with Bergen Kunsthall

In Freedom's Progress?, Gerard Casey argues that the progress of freedom has largely consisted in an intermittent and imperfect transition from tribalism to individualism, from the primacy of the collective to the fragile centrality of the individual person and of freedom. Such a transition is, he argues, neither automatic nor complete, nor are relapses to tribalism impossible. The reason for the fragility of freedom is simple: the importance of individual freedom is simply not obvious to everyone. Most people want security in this world, not liberty. 'Libertarians,' writes Max Eastman, 'used to tell us that "the love of freedom is the strongest of political motives," but recent events have taught us the extravagance of this opinion. The "herd-instinct" and the yearning for paternal authority are often as strong. Indeed the tendency of men to gang up under a leader and submit to his will is of all political traits the best attested by history.' The charm of the collective exercises a perennial magnetic attraction for the human spirit. In the 20th century, Fascism, Bolshevism and National Socialism were, Casey argues, each of them a return to tribalism in one form or another and many aspects of our current Western welfare states continue to embody tribalist impulses. Thinkers you would expect to feature in a history of political thought feature in this book - Plato, Aristotle, Machiavelli, Locke, Mill and Marx - but you will also find thinkers treated in Freedom's Progress? who don't usually show up in standard accounts - Johannes Althusius, Immanuel Kant, William Godwin, Max Stirner, Joseph Proudhon, Mikhail Bakunin, Pyotr Kropotkin, Josiah Warren, Benjamin Tucker and Auberon Herbert. Freedom's Progress? also contains discussions of the broader social and cultural contexts in which politics takes its place, with chapters on slavery, Christianity, the universities, cities, Feudalism, law, kingship, the Reformation, the English Revolution and what Casey calls Twentieth Century Tribalisms - Bolshevism, Fascism and National Socialism and an extensive chapter on human prehistory.