Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against this irony, this book pits overidentification. This term has been taken to mean a kind of parodic mimicry of institutional power. Using a broad tapestry of sources, from political philosophers to art theorists, from post-Marxist critiques of labour to ethnographic studies, it proposes an interpretation of overidentification that does not collapse into ironic posturing. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. It is these forms of overidentification that destabilise the metastasis of liberal-democracy. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox.

"This book sharply reveals the impotence of critical art in the face of neoliberalism, highlighting art workers' increasingly compromised role as agents of the very system of their own oppression. Importantly, the authors skilfully expand the scope for overidentification beyond its customary use of irony and performative excess, by demonstrating how such practices destabilise normative structures and exclusionary mechanisms. Through critical analyses of historical and contemporary artists' projects, this exciting and expansively researched book draws on political theory, post-Marxist critiques of labour, subculture studies and contemporary art theory, providing us with a measured optimism in the face of the demise of art's revolutionary potential." -Lina Džuverović, Curator and Lecturer in Arts Policy and Management, Birkbeck University "Pil and Galia Kollectiv expose the fake criticality of contemporary art, showing us how in many cases today's art declares itself as critical, whereas in reality it is only an official style (socialist realism) of neoliberalism." - Miran Mohar, member of IRWIN and New Collectivism Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against irony, this book pits overidentification. The term has been taken to mean a kind of parodic mimicry of institutional power. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox. Pil and Galia Kollectiv are artists, writers and curators working in collaboration. They lecture in Art at the University of Reading, Royal College of Art and University of the Arts London.

The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.

This collection is a critical reflection of the evolution of Caribbean countries since the demise of the West Indies Federation in 1962. At this historical juncture, some territories opted for independence while others remained dependent territories. The volume examines Caribbean societies in comparative and general ways, covering aspects of their ongoing development and challenges. It covers such areas as Caribbean integration, the state of human capital and social policy in the region, the education sector, Caribbean economic sustainability, and, significantly, the physical environment of the Caribbean. A central question has always been: should these territories have gone independent or stayed under some British tutelage? The book addresses this question, illustrating that these island states have made considerable progress, especially in the maintenance and deepening of democratic practices.

How do you tailor education to the learning needs of adults? Do they learn differently from children? How does their life experience inform their learning processes? These were the questions at the heart of Malcolm Knowles’ pioneering theory of andragogy which transformed education theory in the 1970s. The resulting principles of a self-directed, experiential, problem-centred approach to learning have been hugely influential and are still the basis of the learning practices we use today. Understanding these principles is the cornerstone of increasing motivation and enabling adult learners to achieve. The 9th edition of The Adult Learner has been revised to include: Updates to the book to reflect the very latest advancements in the field. The addition of two new chapters on diversity and inclusion in adult learning, and andragogy and the online adult learner. An updated supporting website. This website for the 9th edition of The Adult Learner will provide basic instructor aids including a PowerPoint presentation for each chapter. Revisions throughout to make it more readable and relevant to your practices. If you are a researcher, practitioner, or student in education, an adult learning practitioner, training manager, or involved in human resource development, this is the definitive book in adult learning you should not be without.

Much attention has been devoted in recent years to Christian asceticism in Late Antiquity. But Christianity did not introduce asceticism to the ancient world. An underlying theme of this fascinating study of pagan asceticism is that much of the work on Christian &"holy men&" has ignored earlier manifestations of asceticism in Antiquity and the way Roman society confronted it. Accordingly, James Francis turns to the second century, the &"balmy late afternoon of Rome's classical empire,&" when the conflict between asceticism and authority reached a turning point. Francis begins with the emperor Marcus Aurelius (121&–180), who warned in his Meditations against &"display[ing] oneself as a man keen to impress others with a reputation for asceticism or beneficence.&" The Stoic Aurelius saw ascetic self-discipline as a virtue, but one to be exercised in moderation. Like other Roman aristocrats of his day, he perceived practitioners of ostentatious physical asceticism as a threat to prevailing norms and the established order. Prophecy, sorcery, miracle working, charismatic leadership, expressions of social discontent, and advocacy of alternative values regarding wealth, property, marriage, and sexuality were the issues provoking the controversy. If Aurelius defined the acceptable limits of ascetical practice, then the poet Lucian depicted the threat ascetics were perceived to pose to the social status quo through his biting satire. In an eye-opening analysis of Philostratus's Life of Apollonius of Tyana, Francis shows how Roman society reined in its deviant ascetics by &"rehabilitating&" them into pillars of traditional values. Celsus's True Doctrine shows how the views pagans held of their own ascetics influenced their negative view of Christianity. Finally, Francis points out striking parallels between the conflict over pagan asceticism and its Christian counterpart. By treating pagan asceticism seriously in its own right, Francis establishes the context necessary for understanding the great flowering of asceticism in Late Antiquity