. Focusing on the difficult relationship between art and social change, Margolin brings important new insights to our understanding of the avant-garde's role in a period of great political complexity.

Hippie Modernism: The Struggle for Utopia accompanies an exhibition of the same title examining the art, architecture and design of the counterculture of the 1960s and early 1970s. The catalogue surveys the radical experiments that challenged societal and professional norms while proposing new kinds of technological, ecological and political utopia. It includes the counter design proposals of Victor Papanek and the anti-design polemics of Global Tools; the radical architectural visions of Archigram, Superstudio, Haus Rucker Co and ONYX; the media-based installations of Ken Isaacs, Joan Hills and Mark Boyle and Helio Oiticica and Neville D'Almeida; the experimental films of Jordan Belson, Bruce Conner and John Whitney; posters and prints by Emory Douglas, Corita Kent and Victor Moscoso; documentation of performances staged by the Diggers and the Cockettes; publications such as Oz Magazine and The Whole Earth Catalog and books by Marshall McLuhan and Buckminster Fuller; and much, much more. While the turbulent social history of the 1960s is well known, its cultural production remains comparatively under-examined. In this substantial volume, scholars explore a range of practices such as radical architectural and anti-design movements emerging in Europe and North America; the print revolution in the experimental graphic design of books, posters and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with figures including Gerd Stern and Michael Callahan of USCO, Gunther Zamp Kelp of Haus Rucker Co, Ken Isaacs, Ron Williams and Woody Rainey of ONYX, Franco Raggi of Global Tools, Tony Martin, Clark Richert and Richard Kallweit of Drop City, and new scholarly writings, this book explores the hybrid conjunction of the countercultural ethos and the modernist desire to fuse art and life.

Very few thinkers have traveled the heretical path that François Laruelle walks between philosophy and non-philosophy. For Laruelle, the future of philosophy is problematic, but a mutation of its functions is possible. Up until now, philosophy has merely been a utopia concerned with the past and only provided the services of its conservation. We must introduce a rigorous and nonimaginary practice of a utopia in action, a philo-fiction—a close relative to science fiction. From here we can see the double meaning of the watchword, a tabula rasa of the future. This new destination is imposed by a specifically human messianism, an eschatology within the limits of the Man-in-person as antihumanist ultimatum addressed to the History of Philosophy. This book elucidates some of the fundamental problems of non-philosophy and takes on its detractors.

War of Shadows is the haunting story of a failed uprising in the Peruvian Amazon—told largely by people who were there. Late in 1965, Asháninka Indians, members of one of the Amazon's largest native tribes, joined forces with Marxist revolutionaries who had opened a guerrilla front in Asháninka territory. They fought, and were crushed by, the overwhelming military force of the Peruvian government. Why did the Indians believe this alliance would deliver them from poverty and the depredations of colonization on their rainforest home? With rare insight and eloquence, anthropologists Brown and Fernández write about an Amazonian people whose contacts with outsiders have repeatedly begun in hope and ended in tragedy. The players in this dramatic confrontation included militants of the Movement of the Revolutionary Left (MIR), the U. S. Embassy, the Peruvian military, a "renegade" American settler, and the Asháninka Indians themselves. Using press reports and archival sources as well as oral histories, the authors weave a vivid tapestry of narratives and counternarratives that challenges the official history of the guerrilla struggle. Central to the story is the Asháninkas' persistent hope that a messiah would lead them to freedom, a belief with roots in eighteenth- and nineteenth-century jungle rebellions and religious movements.

Bastards of Utopia, the companion to a feature documentary film of the same name, explores the experiences and political imagination of young radical activists in the former Yugoslavia, participants in what they call alterglobalization or "globalization from below." Ethnographer Maple Razsa follows individual activists from the transnational protests against globalization of the early 2000s through the Occupy encampments. His portrayal of activism is both empathetic and unflinching—an engaged, elegant meditation on the struggle to re-imagine leftist politics and the power of a country's youth. More information on the film can be found at www.der.org/films/bastards-of-utopia.html.

Human rights offer a vision of international justice that today’s idealistic millions hold dear. Yet the very concept on which the movement is based became familiar only a few decades ago when it profoundly reshaped our hopes for an improved humanity. In this pioneering book, Samuel Moyn elevates that extraordinary transformation to center stage and asks what it reveals about the ideal’s troubled present and uncertain future. For some, human rights stretch back to the dawn of Western civilization, the age of the American and French Revolutions, or the post–World War II moment when the Universal Declaration of Human Rights was framed. Revisiting these episodes in a dramatic tour of humanity’s moral history, The Last Utopia shows that it was in the decade after 1968 that human rights began to make sense to broad communities of people as the proper cause of justice. Across eastern and western Europe, as well as throughout the United States and Latin America, human rights crystallized in a few short years as social activism and political rhetoric moved it from the hallways of the United Nations to the global forefront. It was on the ruins of earlier political utopias, Moyn argues, that human rights achieved contemporary prominence. The morality of individual rights substituted for the soiled political dreams of revolutionary communism and nationalism as international law became an alternative to popular struggle and bloody violence. But as the ideal of human rights enters into rival political agendas, it requires more vigilance and scrutiny than when it became the watchword of our hopes.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.