"On the afternoon of August 28th 1909 Sigmund Freud visited Coney Island's famous Dreamland amusement park. A hundred years later this lively and imaginative book examines his legacy in Coney Island. It begins with Norman Klein's reconstruction of his actual visit. However Freud's real impact appears to have come later with the founding of the Coney Island Amateur Psychoanalytic Society. Zoe Beloff conjures up the world of this unique Society, whose forward-thinking attitude flourished from1926 through the early 1970s. The Society's members, most of them working people from a wide variety of cultural backgrounds, wished to participate in one of the great intellectual movements of the 20th century. She explores their activities that included recreating their dreams on film and discusses the role of the society's visionary founder Albert Grass who attempted to rebuild Dreamland according to Freud's theory of dream formation."--From publisher's website, http://www.christineburgin.com

Emotions Go To Work is an investigation into how technology is used to turn our feelings into valuable assets. One might call it the transformation of emotion into capital. It asks what is at stake in our relationship with the companions we call smart objects? What does the future hold in store for a world where people are treated more and more like things, while the billions of gadgets that make up the Internet of Things are increasingly anthropomorphized, granted agency? Spanning an arc of time from the 18th century to 21st century and beyond, Emotions Go To Work traces the codification and instrumentalization emotional data in ways both playful and serious. It considers the role emojis play our mental life and their potential to evolve and grow monstrous. It suggests that anthropomorphized technological creatures from early cartoons might inspire a utopian society. Proposing that the first step to re-wiring our world is to picture possibilities in games and in play, in dreams and in far-fetched fictions, so that we can begin new conversations between people and things. Hand printed 5 color Risograph artist book with two pullout pages, printed in a limited edition of 200 copies.

The twenty-five pictures in this book comprise the dream journal of Albert Grass, founder of the Coney Island Amateur Psychoanalytic Society. A hand-drawn prototype for a comic book, it appears to have been created from perhaps 1936 to the outbreak of World War II in 1939.

An exploration by the artist and scholar Zoe Beloff of Sergei Eisenstein and Bertolt Brecht's experiences in Hollywood in the Thirties and Forties with a focus on the unrealized films "Glass House" by Eisenstein and "A Model Family in a Model Home" by Brecht. The book reproduces many important and little-known documents from the period including a large selection of previously unpublished drawings by Eisenstein discovered by Beloff in the Russian State Archive of Literature and Art in Moscow. Also included is documentation of three films by Zoe Beloff inspired by "Glass House," "A Model Family in a Model Home" and the writings of Eisenstein and Brecht as they contemplate the politics and culture of Hollywood. Two essays scholarly essays have been commissioned for this project: an essay by Hannah Frank on the affinities of American and Soviet animation during this period and a meditation on the role of laughter in the work of Bertolt Brecht by the Walter Benjamin scholar Esther Leslie.

Ian Parker has been a leading light in the fields of critical and discursive psychology for over 25 years. The Psychology After Critique series brings together for the first time his most important papers. Each volume in the series has been prepared by Ian Parker and presents a newly written introduction and focused overview of a key topic area. Psychology After the Unconscious is the fifth volume in the series and addresses three central questions: Why is Freud’s concept of the unconscious important today? Does language itself play a role in the creation of the unconscious? How does Lacan radicalize Freud’s notion of the unconscious in relation to cultural research? The book provides a clear explanation of Freudian and Lacanian accounts of the unconscious. It also highlights their role in offering a new way of describing, understanding and working with the human subject in clinical settings and in cultural research. Part One shows how the unconscious is elaborated in Freud’s early case studies in Studies on Hysteria, while Part Two focuses on Lacan’s re-working of the unconscious and its relationship to language and culture in his influential public seminars. The book also provides access to key debates currently occurring in Freudian and Lacanian psychoanalysis, exploring both the clinical dimension and the consequences for psychological and cultural research. Psychology After the Unconscious is essential reading for students and researchers in psychology, psychosocial studies, sociology, social anthropology and cultural studies, and to psychoanalysts of different traditions engaged in academic research. It will also introduce key ideas and debates within critical psychology to undergraduates and postgraduate students across the social sciences.

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another. The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny. Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.