"Theodor Adorno once remarked that, "...every work of art is an uncommitted crime." This book is a tribute to political artists who deviate from the mainstream and create art that engages with questions of societal oppression, survival, and resistance. It draws on interviews with transnational artists whose work is representative of emerging trends in art, visual culture, and political aesthetics. Uncommitted Crimes reflects on a new generation of artists whose creative praxis, sensibilities, influences, and frames of reference derive from multiple national, religious, and cultural genealogies, and an ambivalent relationship to Western and European nationalisms. Courageously, these racialized, Indigenous, and migrant artists straddle the divides of many categories of identity in regards to gender, sexuality, and 'race.' Their art challenges the silently imbibed worship of whiteness, heteronormative patriarchies, and colonial settler ideologies of "home." These exceptional cultural producers enter into uncomfortable dialogues, creatively. Inspired by their visionary praxis, this book is an uncommitted crime, attempting to smuggle arresting artistic ideas into a site of intellectual imagi/nation. Artists whose works are explored in this book include: Andil Gosine, Syrus Marcus Ware, Elisha Lim; Amita Zamaan and Helen Lee; Shirin Fathi; Kara Springer; Rajni Perera; Joshua Vettivelu; Brendan Fernandes; Kerry Potts and Rebecca Belmore; The Mass Arrival Collective (Farrah Miranda, Graciela Flores Mendez, Tings Chak, Vino Shanmuganathan, and Nadia Saad.)"--

"Theodor Adorno once remarked that, "...every work of art is an uncommitted crime." This book is a tribute to political artists who deviate from the mainstream and create art that engages with questions of societal oppression, survival, and resistance. It draws on interviews with transnational artists whose work is representative of emerging trends in art, visual culture, and political aesthetics. Uncommitted Crimes reflects on a new generation of artists whose creative praxis, sensibilities, influences, and frames of reference derive from multiple national, religious, and cultural genealogies, and an ambivalent relationship to Western and European nationalisms. Courageously, these racialized, Indigenous, and migrant artists straddle the divides of many categories of identity in regards to gender, sexuality, and 'race.' Their art challenges the silently imbibed worship of whiteness, heteronormative patriarchies, and colonial settler ideologies of "home." These exceptional cultural producers enter into uncomfortable dialogues, creatively. Inspired by their visionary praxis, this book is an uncommitted crime, attempting to smuggle arresting artistic ideas into a site of intellectual imagi/nation. Artists whose works are explored in this book include: Andil Gosine, Syrus Marcus Ware, Elisha Lim; Amita Zamaan and Helen Lee; Shirin Fathi; Kara Springer; Rajni Perera; Joshua Vettivelu; Brendan Fernandes; Kerry Potts and Rebecca Belmore; The Mass Arrival Collective (Farrah Miranda, Graciela Flores Mendez, Tings Chak, Vino Shanmuganathan, and Nadia Saad.)"--

Whiz and Joey witness an apparent breaking and entering. They instantly assume the roles of Agent M and Agent K of the Tanner-Dent Detective Agency. The victim doesn't want them investigating, which makes them more curious. They uncover spies, secret identities and the plans for a terrible crime. But nothing is as it appears as they ride for their lives up roads, through woods and cow pastures, until they find themselves on a wobbly swinging bridge. How do all their clues fit together? Can Whiz (uh, I mean, Agent M) find the the connection? Hardcover ISBN: 978-1-946650-06-1

Olof Dahlbäck's book breaks new ground for the analysis of crime from a rationality perspective by presenting models and methods that go far beyond those with which researchers have hitherto been equipped. The book examines single crimes, individual criminality, and societal crime, and it discusses thoroughly the general decision theoretical presuppositions necessary for analyzing these various types of crime. An expected utility maximization model for a single discrete choice regarding the commission of a crime is the foundation of most of the analyses presented. A version of this model is developed that permits interpersonal comparisons, and this basic model is used when deriving more complex models of crime as well as when analyzing the potential for such derivations. The rigorous, powerful methods suggested provide considerable opportunities for improving research and for seeing old problems in a new light.

Examines art as a form of politics in Canada.

"The evidence assembled, Julius concludes his hard-hitting dissection of the landscapes of contemporary art by posing some important questions: what is art's future when its boundary-exceeding, taboo-breaking endeavors become the norm? And is anything of value lost when we submit to art's violation?"--BOOK JACKET.