The Revolution Will Be Improvised: The Intimacy of Cultural Activism traces intimate encounters between activists and local people of the civil rights movement through an archive of Black and Brown avant-gardism. In the 1960s, Student Nonviolent Coordinating Committee (SNCC) activists engaged with people of color working in poor communities to experiment with creative approaches to liberation through theater, media, storytelling, and craftmaking. With a dearth of resources and an abundance of urgency, SNCC activists improvised new methods of engaging with communities that created possibilities for unexpected encounters through programs such as The Free Southern Theater, El Teatro Campesino, and the Poor People's Corporation. Reading the output of these programs, Elizabeth Rodriguez Fielder argues that intimacy-making became an extension of participatory democracy. In doing so, Fielder supplants the success-failure binary for understanding social movements, focusing instead on how care work aligns with creative production. The Revolution Will Be Improvised returns to improvisation's roots in economic and social necessity and locates it as a core tenet of the aesthetics of obligation, where a commitment to others drives the production and result of creative work thus, this book puts forward a methodology to explore further the improvised, often ephemeral, works of art activism.

A collection of conversations with experts in science and sustainability about the challenges we face and the new developments we can expect as society undergoes unprecedented change over the next thirty years.

Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan's future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protest music. The Revolution Will Not Be Televised: Protest Music After Fukushima shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music--cyberspace, demonstrations, festivals, and recordings. She argues that these four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, Manabe shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.

Soon to be a streaming series ● In this dazzling work of history, a Pulitzer Prize-winning author follows Benjamin Franklin to France for the crowning achievement of his career In December of 1776 a small boat delivered an old man to France." So begins an enthralling narrative account of how Benjamin Franklin--seventy years old, without any diplomatic training, and possessed of the most rudimentary French--convinced France, an absolute monarchy, to underwrite America's experiment in democracy. When Franklin stepped onto French soil, he well understood he was embarking on the greatest gamble of his career. By virtue of fame, charisma, and ingenuity, Franklin outmaneuvered British spies, French informers, and hostile colleagues; engineered the Franco-American alliance of 1778; and helped to negotiate the peace of 1783. The eight-year French mission stands not only as Franklin's most vital service to his country but as the most revealing of the man. In A Great Improvisation, Stacy Schiff draws from new and little-known sources to illuminate the least-explored part of Franklin's life. Here is an unfamiliar, unforgettable chapter of the Revolution, a rousing tale of American infighting, and the treacherous backroom dealings at Versailles that would propel George Washington from near decimation at Valley Forge to victory at Yorktown. From these pages emerge a particularly human and yet fiercely determined Founding Father, as well as a profound sense of how fragile, improvisational, and international was our country's bid for independence.

The "Arab Spring" was heralded and publicly embraced by foreign leaders of many countries that define themselves by their own historic revolutions. The contributors to this volume examine the legitimacy of these comparisons by exploring whether or not all modern revolutions follow a pattern or script. Traditionally, historians have studied revolutions as distinct and separate events. Drawing on close familiarity with many different cultures, languages, and historical transitions, this anthology presents the first cohesive historical approach to the comparative study of revolutions. This volume argues that the American and French Revolutions provided the genesis of the revolutionary "script" that was rewritten by Marx, which was revised by Lenin and the Bolshevik Revolution, which was revised again by Mao and the Chinese Communist Revolution. Later revolutions in Cuba and Iran improvised further. This script is once again on display in the capitals of the Middle East and North Africa, and it will serve as the model for future revolutionary movements.

Justice as Improvisation: The Law of the Extempore theorises the relationship between justice and improvisation through the case of the New York City cabaret laws. Discourses around improvisation often imprison it in a quasi-ethical relationship with the authentic, singular 'other'. The same can be said of justice. This book interrogates this relationship by highlighting the parallels between the aporetic conception of justice advanced by the late French philosopher Jacques Derrida and the nuanced approach to improvisation pursued by musicians and theorists alike in the new and emerging interdisciplinary field of Critical Studies in Improvisation (CSI). Justice as Improvisation re-imagines justice as a species of improvisation through the formal structure of the most basic of legal mechanisms, judicial decision-making, offering law and legal theory a richer, more concrete, understanding of justice. Not further mystery or mystique, but a negotiation between abstract notions of justice and the everyday practice of judging. Improvisation in judgment calls for ongoing, practical decision-making as the constant negotiation between the freedom of the judge to take account of the otherness or singularity of the case and the existing laws or rules that both allow for and constrain that freedom. Yes, it is necessary to judge, yes, it is necessary to decide, but to judge well, to decide justly, that is a music lesson perhaps best taught by critical improvisation scholars.

Improvisation as Art traces how modernity's emphasis on inventiveness has changed the meaning of improvisation; and how the ideals and laws that led improvisation to be banned from "high art" in the eighteenth century simultaneously enabled the inventive reintegration of improvisation into modernism. After an in-depth exploration of contemporary theoretical contentions surrounding improvisation, Landgraf examines how the new emphasis on inventiveness affects the understanding of improvisation in the emerging aesthetic and anthropological discourses of the late 18th and early 19th centuries. He first focuses on accounts of improvisational performances by Moritz, Goethe, and Fernow and reads them alongside the aesthetics of autonomy as it develops at the same time. In its second half, the book investigates how the problem of "planning" art receives a different treatment in German Romanticism. The final chapter focuses on the writings of Heinrich von Kleist where improvisation presents a central aesthetic principle. Kleist's figurations of improvisation recognize the anthropological predicament of the self in modern society and the social constraints that invite and often force individuals to improvise.