How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck (University of West Georgia), Mark Bishop (Independent Scholar), Dave Collins (University of West Georgia), David Fancy (Brock University), Veronica Pacini-Ketchabaw (University of Western Ontario), Malisa Kurtz (Independent Scholar), Nicole Land (Toronto Metropolitan University), Eric Lochhead (Youth Author Calgary Alberta), Douglas Ord (Doctoral Student University of Western Ontario), Joanna Perkins (Independent Scholar), Peter Rehberg (Institute for Cultural Inquiry—Berlin), Chris Richardson (Young Harris College), Hans Skott-Myhre (Kennesaw State University), and Kathleen Skott-Myhre (University of West Georgia).

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck (University of West Georgia), Mark Bishop (Independent Scholar), Dave Collins (University of West Georgia), David Fancy (Brock University), Veronica Pacini-Ketchabaw (University of Western Ontario), Malisa Kurtz (Independent Scholar), Nicole Land (Toronto Metropolitan University), Eric Lochhead (Youth Author Calgary Alberta), Douglas Ord (Doctoral Student University of Western Ontario), Joanna Perkins (Independent Scholar), Peter Rehberg (Institute for Cultural Inquiry—Berlin), Chris Richardson (Young Harris College), Hans Skott-Myhre (Kennesaw State University), and Kathleen Skott-Myhre (University of West Georgia).

It can be easy to imagine that Child and Youth Care practitioners are inherently or naturally attuned to issues of diversity and colonization as they pertain to multicultural practice. While there are excellent culturally attuned practices that are happening in the field of Child and Youth Care, when it comes to collecting stories of cultural diversity and, more specifically, the problematic unfolding of some of these stories, there remains hesitancy in the field. This hesitancy, in part, is due to assuming we are practicing in postcolonial times, where all the messiness, the doubting, and the pain have been ‘dealt’ with.

The authors of this volume suggest otherwise and their chapters represent an important contribution to the field. They are a diverse group of practitioners but they share a common concern that the term multicultural practice grooms hegemonic interventions that do not critically examine issues of power, difference, colonialism, Whiteness, or species, to name a few. Although the title of this issue is Troubling Multiculturalism, the language within this issue stretches this term, troubles it, and at times, re-invents it.

This book was originally published as a special issue of Child and Youth Services.

It can be easy to imagine that Child and Youth Care practitioners are inherently or naturally attuned to issues of diversity and colonization as they pertain to multicultural practice. While there are excellent culturally attuned practices that are happening in the field of Child and Youth Care, when it comes to collecting stories of cultural diversity and, more specifically, the problematic unfolding of some of these stories, there remains hesitancy in the field. This hesitancy, in part, is due to assuming we are practicing in postcolonial times, where all the messiness, the doubting, and the pain have been ‘dealt’ with.

The authors of this volume suggest otherwise and their chapters represent an important contribution to the field. They are a diverse group of practitioners but they share a common concern that the term multicultural practice grooms hegemonic interventions that do not critically examine issues of power, difference, colonialism, Whiteness, or species, to name a few. Although the title of this issue is Troubling Multiculturalism, the language within this issue stretches this term, troubles it, and at times, re-invents it.

This book was originally published as a special issue of Child and Youth Services.

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck (University of West Georgia), Mark Bishop (Independent Scholar), Dave Collins (University of West Georgia), David Fancy (Brock University), Veronica Pacini-Ketchabaw (University of Western Ontario), Malisa Kurtz (Independent Scholar), Nicole Land (Toronto Metropolitan University), Eric Lochhead (Youth Author Calgary Alberta), Douglas Ord (Doctoral Student University of Western Ontario), Joanna Perkins (Independent Scholar), Peter Rehberg (Institute for Cultural Inquiry—Berlin), Chris Richardson (Young Harris College), Hans Skott-Myhre (Kennesaw State University), and Kathleen Skott-Myhre (University of West Georgia).

How can we imagine a future not driven by capitalist assumptions about humans and the wider world? How are a range of contemporary artistic and popular cultural practices already providing pathways to post-capitalist futures? Authors from a variety of disciplines answer these questions through writings on blues and hip hop, virtual reality, post-colonial science fiction, virtual gaming, riot grrrls and punk, raku pottery, post-pornography fanzines, zombie films, and role playing. The essays in Art as Revolt are clustered around themes such as technology and the future, aesthetics and resistance, and ethnographies of the self beyond traditional understandings of identity. Using philosophies of immanence – describing a system that gives rise to itself, independent of outside forces – drawn from a rich and evolving tradition that includes Spinoza, Nietzsche, Deleuze, and Braidotti, the authors and editors provide an engrossing range of analysis and speculation. Together the essays, written by experts in their fields, stage an important collective, transdisciplinary conversation about how best to talk about art and politics today. Sophisticated in its theoretical and philosophical premises, and engaging some of the most pressing questions in cultural studies and artistic practice today, Art as Revolt does not provide comfortable closure. Instead, it is understood by its authors to be a “Dionysian machine,” a generator of open-ended possibility and potential that challenges readers to affirm their own belief in the futures of this world. Contributors include Timothy J. Beck (University of West Georgia), Mark Bishop (Independent Scholar), Dave Collins (University of West Georgia), David Fancy (Brock University), Veronica Pacini-Ketchabaw (University of Western Ontario), Malisa Kurtz (Independent Scholar), Nicole Land (Toronto Metropolitan University), Eric Lochhead (Youth Author Calgary Alberta), Douglas Ord (Doctoral Student University of Western Ontario), Joanna Perkins (Independent Scholar), Peter Rehberg (Institute for Cultural Inquiry—Berlin), Chris Richardson (Young Harris College), Hans Skott-Myhre (Kennesaw State University), and Kathleen Skott-Myhre (University of West Georgia).

It can be easy to imagine that Child and Youth Care practitioners are inherently or naturally attuned to issues of diversity and colonization as they pertain to multicultural practice. While there are excellent culturally attuned practices that are happening in the field of Child and Youth Care, when it comes to collecting stories of cultural diversity and, more specifically, the problematic unfolding of some of these stories, there remains hesitancy in the field. This hesitancy, in part, is due to assuming we are practicing in postcolonial times, where all the messiness, the doubting, and the pain have been ‘dealt’ with.

The authors of this volume suggest otherwise and their chapters represent an important contribution to the field. They are a diverse group of practitioners but they share a common concern that the term multicultural practice grooms hegemonic interventions that do not critically examine issues of power, difference, colonialism, Whiteness, or species, to name a few. Although the title of this issue is Troubling Multiculturalism, the language within this issue stretches this term, troubles it, and at times, re-invents it.

This book was originally published as a special issue of Child and Youth Services.

It can be easy to imagine that Child and Youth Care practitioners are inherently or naturally attuned to issues of diversity and colonization as they pertain to multicultural practice. While there are excellent culturally attuned practices that are happening in the field of Child and Youth Care, when it comes to collecting stories of cultural diversity and, more specifically, the problematic unfolding of some of these stories, there remains hesitancy in the field. This hesitancy, in part, is due to assuming we are practicing in postcolonial times, where all the messiness, the doubting, and the pain have been ‘dealt’ with.

The authors of this volume suggest otherwise and their chapters represent an important contribution to the field. They are a diverse group of practitioners but they share a common concern that the term multicultural practice grooms hegemonic interventions that do not critically examine issues of power, difference, colonialism, Whiteness, or species, to name a few. Although the title of this issue is Troubling Multiculturalism, the language within this issue stretches this term, troubles it, and at times, re-invents it.

This book was originally published as a special issue of Child and Youth Services.