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A compelling inquiry into the rhetorical and aesthetic techniques that subvert contemporary regimes of digital surveillance, embodiment, and control.

The contemporary world bristles with tools of observation and manipulation. Security cameras, social media, data mining, biometric scans, and other instruments ensnare the individual in a web of surveillance. In Disobedient Aesthetics, Anthony Stagliano exposes the use of human lives as sites of data exploitation and outlines paths of resistance. From the thermal-vision systems used on military drones, which use human body heat itself as a media object, to facial recognition platforms that use human faces as data mines, and from law enforcement tools of DNA analysis to data-driven urban governance, the realm of algorithmic surveillance and control is wide and subtle.

Disobedient Aesthetics outlines interventions into the technical systems subtending data-driven surveillance and control. Stagliano maps not only the surveillant regimes afforded by recent networked technologies, but also the inventive, artistic research into ways of undermining, upending, or redirecting such technologies. The concluding chapter examines creative, critical, and collective efforts to democratize access to the technology that undergirds such scrutiny and enables ways to detect and contest its power.

In a fascinating epilogue, Stagliano revisits current theories of control and offers an alternative reading of Gilles Deleuze’s oft-cited thesis on control societies: namely that it is not a matter of “finding new weapons” to undermine control but developing new techniques, new designs, new prototypes, and new modes of creative escape.
 

In Austin, Texas, in 2002, a group of artists, activists, and academics led by performance studies scholar Omi Osun Joni L. Jones formed the Austin Project (tAP), which meets annually in order to provide a space for women of color and their allies to build relationships based on trust, creativity, and commitment to social justice by working together to write and perform work in the jazz aesthetic.

Inspired by this experience, this book is both an anthology of new writing and a sourcebook for those who would like to use creative writing and performance to energize their artistic, scholarly, and activist practices. Theoretical and historical essays by Omi Osun Joni L. Jones describe and define the African American tradition of art-making known as the jazz aesthetic, and explain how her own work in this tradition inspired her to start tAP.

Key artists in the tradition, from Bessie Award–winning choreographer Laurie Carlos and writer/performer Robbie McCauley to playwrights Daniel Alexander Jones and Carl Hancock Rux, worked with the women of tAP as mentors and teachers. This book brings together never-before-published, must-read materials by these nationally known artists and the transformative writing of tAP participants. A handbook for workshop leaders by Lambda Literary Award–winning writer Sharon Bridgforth, tAP's inaugural anchor artist, offers readers the tools for starting similar projects in their own communities. A full-length script of the 2005 tAP performance is an original documentation of the collaborative, breath-based, body work of the jazz aesthetic in theatre, and provides both a script for use by theatre artists and an invaluable documentation of a major transformative movement in contemporary performance.

The metaphor “beyond the pale” refers to something that’s unacceptable and, as James M. Harding argues in this book, “almost always refers to something—an activity, an action, or an act—that is performed.” In this book, Harding recalls that historically the pale marked contested political boundaries and that what lay beyond the pale was considered to be a dangerous frontier. Siding with seemingly excessive and unreasonable acts and with the artists and activists who produce them, Harding brings together a series of ideas and performances that operate beyond the pale and asks readers to examine them on their own terms.

Drawing on political science, critical theory, and philosophy, Harding investigates instances of self-immolation, life-threatening journeys across deserts and seas, radical political hoaxes, extreme speech acts, and anti-police activism. The book’s five chapters consist of a series of meditations, each with an easily identifiable scholarly logic and clear argument, though the connections between the meditations are left up to the reader. Together these meditations urge readers to understand that “beyond the pale” acts are frequently the product of a sense of urgency that preempts the dictates of accepted reason, conventional logic, and safety.

Interdisciplinary in approach and wide-ranging in scope, Performing Environmentalisms is an engaging look at the merger of cultural expression and environmental action on the front lines of today's global emergency.

Contributors: Aaron S. Allen, Eduardo S. Brondizio, Assefa Tefera Dibaba, Rebecca Dirksen, Mary Hufford, John Holmes McDowell, Mark Pedelty, Jennifer C. Post, Chie Sakakibara, Jeff Todd Titon, Rory Turner, Lois Wilcken

An in-depth look at how Latina/x artists transform art into activism and reclaim space in the Twin Cities

In Place-Keepers, Jessica Lopez Lyman examines how Latina/x artists in the Twin Cities navigate and challenge the region’s deep-seated racial injustices. Using “Inter-Latina movidas”—subtle yet strategic actions through which Latina/x artists forge solidarities, mobilize for justice, and reclaim space—these artists respond to systemic oppression through public performances and behind-the-scenes negotiations with the state, nonprofits, and other institutions.

Centering Latina/x women and gender nonconforming artists from Chicana/Mexicana, U.S. Central American, and Caribbean backgrounds, Place-Keepers confronts reductionist theories of Latinidad that flatten ethnic and racial identities. It demonstrates how the creative and activist practices of these cultural organizers address urgent social struggles from resisting gentrification and environmental destruction to opposing police violence. Lopez Lyman situates these efforts within the broader history of racial justice organizing in Minnesota, tracing a lineage of resistance that long precedes the 2020 Minneapolis uprising following the murder of George Floyd.

Through firsthand accounts and revealing case studies, Place-Keepers charts how these artists harness aesthetics as a tool for movement-building, strategically redistributing resources and transforming policy. Expanding the foundational concept of “movidas” in Chicana/o/x and Latina/o/x studies by highlighting maneuvers of infiltration, improvisation, individual ritual, and interdependence, Lopez Lyman establishes a crucial framework for understanding art as activism.

Social Fabric: Art and Activism in Contemporary Brazil brings together the work of ten artists who reflect upon the long-standing histories of oppressive power structures in the territory now known as Brazil. Blurring the line between art and activism and spanning installation, painting, performance, photography, sculpture, and video, these artists contribute to local and global conversations about the state of democracy, racial injustice, and the violence inflicted by the nation-state. This first English-language, book-length study of contemporary Brazilian art in relationship to activism assembles artist-authored texts, interviews, essays, and a conceptual mapping of Brazilian history to illuminate the function of art as a platform for critical engagement with the historical, political, and cultural configurations of a particular place. By refusing to remain neutral, these artists create spaces of vibrant and vital community and self-construction to explore how healing and justice may be possible, especially in the Black, LGBTQIA+, and Indigenous communities to which many of them belong.

Essays on the rise of community-focused art projects and anti-monuments in Mexico since the 1980s.

Mexico has long been lauded and studied for its post-revolutionary public art, but recent artistic practices have raised questions about how public art is created and for whom it is intended. In The New Public Art, Mara Polgovsky Ezcurra, together with a number of scholars, artists, and activists, looks at the rise of community-focused art projects, from collective cinema to off-stage dance and theatre, and the creation of anti-monuments that have redefined what public art is and how people have engaged with it across the country since the 1980s.

The New Public Art investigates the reemergence of collective practices in response to privatization, individualism, and alienating violence. Focusing on the intersection of art, politics, and notions of public participation and belonging, contributors argue that a new, non-state-led understanding of "the public" came into being in Mexico between the mid-1980s and the late 2010s. During this period, community-based public art bore witness to the human costs of abuses of state and economic power while proposing alternative forms of artistic creation, activism, and cultural organization.