Goldsmiths Press – serie

A unique, critical, and creative encyclopedia from scholars, artists, and writers on the world and words of finance capital. What does finance capital look like? How do the push and pull of debt and credit shape our feelings and relations? Across fifty-five unforgettable entries, Finance Aesthetics: A Critical Glossary offers an unorthodox appraisal of our bizarre, distorted contemporary condition.

An illustrated history of the evolution of British women's cycle wear.

The bicycle in Victorian Britain is often celebrated as a vehicle of women's liberation. Less noted is another critical technology with which women forged new and mobile public lives—cycle wear. This illustrated account of women's cycle wear from Goldsmiths Press brings together Victorian engineering and radical feminist invention to supply a missing chapter in the history of feminism.

Despite its benefits, cycling was a material and ideological minefield for women. Conventional fashions were unworkable, with skirts catching in wheels and tangling in pedals. Yet wearing “rational” cycle wear could provoke verbal and sometimes physical abuse from those threatened by newly mobile women. Seeking a solution, pioneering women not only imagined, made, and wore radical new forms of cycle wear but also patented their inventive designs. The most remarkable of these were convertible costumes that enabled wearers to transform ordinary clothing into cycle wear.

Drawing on in-depth archival research and inventive practice, Kat Jungnickel brings to life in rich detail the little-known stories of six inventors of the 1890s. Alice Bygrave, a dressmaker of Brixton, registered four patents for a skirt with a dual pulley system built into its seams. Julia Gill, a court dressmaker of Haverstock Hill, patented a skirt that drew material up the waist using a mechanism of rings or eyelets. Mary and Sarah Pease, sisters from York, patented a skirt that could be quickly converted into a fashionable high-collar cape. Henrietta Müller, a women's rights activist of Maidenhead, patented a three-part cycling suit with a concealed system of loops and buttons to elevate the skirt. And Mary Ann Ward, a gentlewoman of Bristol, patented the “Hyde Park Safety Skirt,” which gathered fabric at intervals using a series of side buttons on the skirt. Their unique contributions to cycling's past continue to shape urban life for contemporary mobile women.

An alternative view of the North West of England that delves into its stranger past. I Hate the Lake District offers a different vision of the rural environment from those found in much contemporary nature writing. Based on the author's trips around North West England, the book engages with nuclear power and nuclear war, slavery, imperialism, ghosts, love, God, cockroaches, and the sheer violence and contingency of “nature” itself—of which the human presence is merely a part. Each chapter starts with an account of a visit to a place in this remote part of England, the deep north, but digresses and wanders through multifarious themes and subjects. Among the sites Gere visits are the defunct nuclear power station at Sellafield, home of all British nuclear waste; Lake Coniston, where Donald Campbell died trying to break the water speed record; Hadrian's Wall, furthermost reach of the Roman Empire; the mysterious and deathly Morecambe Bay; sites of slavery in the North West; places where UFOs have been sighted, avant-garde artists created work, and Islamic terrorists trained; shantytowns where the navvies who built the railways lived with their families; and even the remains of Blobbyland in Morecambe. In I Hate the Lake District, Gere challenges the bourgeois pastoralism of popular nature writing and reveals the landscape of North West England as profoundly unnatural and strange.

A genre-bending meditation on sickness, spirituality, creativity, and the redemptive powers of writing. Notes Made While Falling is both a genre-bending memoir and a cultural study of traumatized and sickened selves in fiction and film. It offers a fresh, visceral, and idiosyncratic perspective on creativity, spirituality, illness, and the limits of fiction itself. At its heart is a story of a disastrously traumatic childbirth, its long aftermath, and the out-of-time roots of both trauma and creativity in an extraordinary childhood. Moving from fairgrounds to Agatha Christie, from literary festivals to neuroscience and the Bible, from Chernobyl to King Lear, Ashworth takes us on a fantastic journey through familiar landscapes transformed through unexpected encounters and comic combinations. The everyday provides the ground for the macabre and the absurd, as the narration twists and stretches time. Hovering on the edge of madness, writing, it seems, might keep us sane—or might just allow us to keep on living. In Notes Made While Falling, Ashworth calls for a redefinition of the creative work of thinking, writing, teaching, and being, and she underlines the necessity of a fearlessly compassionate and empathic attention to vulnerability and fragility.

The central paradox this book explores is that at the moment of photography's replacement by the algorithm and data flow, photographic cultures proliferate as never before. The afterlife of photography, residual as it may technically be, maintains a powerful cultural and representational hold on reality, which is important to understand in relationship to the new conditions. Forgetting photography is a strategy to reveal the redundant historicity of the photographic constellation and the cultural immobility of its epicenter.It attempts to liberate the image from these historic shackles, forged by art history and photographic theory. More important, perhaps, forgetting photography also entails rejecting the frame of reality it prescribes and delineates, and in doing so opens up other relationships between bodies, times, events, materials, memory, representation and the image.Forgetting photography attempts to develop a systematic method for revealing the limits and prescriptions of thinking with photography, which no amount of revisionism of post-photographic theory can get beyond. The world urgently needs to unthink photography and go beyond it in order to understand the present constitution of the image as well as the reality or world it shows.Forgetting photography will require a different way of organizing knowledge about the visual in culture that involves crossing different knowledges of visual culture, technologies, and mediums. It will also involve thinking differently about routine and creative labor and its knowledge practices within the institutions and organization of visual reproduction.

The emergence of the popular music industry in the early twentieth century not only drove a wedge between music production and consumption, it also underscored a wider separation of labor from leisure and of the workplace from the domestic sphere. These were changes characteristic of an industrial society where pleasure was to be sought outside of work, but these categories have grown increasingly porous today. As the working day extends into the home or becomes indistinguishable from leisure time, so the role and meaning of music in everyday life changes too. In arguing that the experience of popular music is partly conditioned by its segregation from work and its restriction to the time and space of leisure—the evening, the weekend, the dancehall—Take This Hammer shows how changes to work as it grows increasingly precarious, part-time, and temporary in recent decades, are related to transformations in popular music. Connecting contemporary changes in work and the economy to tendencies in popular music, Take This Hammer shows how song-form has both reflected developments in contemporary capitalism while also intimating a horizon beyond it. From online streaming and the extension of the working day to gentrification, unemployment and the emergence of trap rap, from ecological crisis and field recording to automation and trends in dance music, by exploring the intersections of work and song in the current era, not only do we gain a new understanding of contemporary musical culture, we also see how music might gesture towards a horizon beyond the alienating experience of work in capitalism itself.

A guide to the doing of critical and creative research with a range of unusual means to apprise places and build ethical relationships.This catalogue of methods draws on the wealth of cutting-edge critical and creative social research from the Goldsmiths Sociology Department to offer an engaged guide to doing research with a range of unexpected relations. The collection focuses on multiple assemblages of objects, media, materials, practices, relations, devices, and atmospheres, spanning methods and topics involving food to activism, knitting to ghosts, theater to documents, collaging to corridors. Through hands-on discussions of the practicalities, ethics, and politics of doing social research, the catalogue showcases a wide range of examples of what methods might mean and do. It builds a case for an understanding of contemporary social research as interdisciplinary, responsive, dynamic, vital, and urgent in studying and shaping social worlds. Goldsmiths Sociology Department is internationally recognized as being at the forefront of some of the most daring, original and unconventional methodological innovation. Their unbounded approach to social research offers textured yet clear paths through the problems and issues before us, as contributors present the methodological puzzles they have become knotted with. The short and imaginative case studies offer new ways of teaching, learning, and doing lively and rigorous research. This is research as close-up observations, infrastructural interventions and imaginative play. How to Do Social Research With … will be essential for anyone interested in expanding their repertoire of social research methods.

Ecologies of truth in a post-truth era.The problem with Neo-Nazis is not that they don’t trust the media but that they trust them too much. White supremacists are absolutely convinced by their supremacy. They distrust technologies and climate change as much as the global poor because, as white Europeans, they believe they are exempt from exploitation. This book argues that the only truths possible in the 21st century are mobile, inventive practices involving everything European models of communication exclude: technologies, nature, and leftover humanity. Tracing histories of their separation, Truth analyzes the struggle between the new dominance of information systems and the sensory worlds it excludes, not least the ancestral wisdom that the West has imprisoned in its technologies. The emergent cybernetics of the 1940s has become the dominant ideology of the 21st century. Truth opposes its division of the world between subjects and objects, signals and noise, emphasizing that there can be no return to some primal Eden of unfettered exchange. Instead, these divisions, which have fundamentally reorganized the commodity form that they inherited, are the historical conditions we must confront. Drawing on a wide range of aesthetic practices, from literature, film, art, music, workplace media, scientific instruments, and animal displays, Truth seeks out ways to create a new commons and a new politics grounded in aesthetic properties of creativity, senses and perception that can no longer be restricted to humans alone.

An exploration of the much-derided English suburbs through rap music.There are many different Englands. From the much-romanticized rolling countryside, to the cosmopolitanism of the inner cities (embraced by some as progressive, multicultural enlightenment and derided by others as the playground of a self-righteous metropolitan elite), or the disparagingly named "left behind" communities which, post-Brexit, have so interested political parties and pundits, demographers and statisticians.But there is also an England no one cares about. The England of semi-detached houses and clean driveways for multiple cars devotedly washed on Sundays, of "twitching curtains" and Laura Ashley sofas; of cul-de-sacs to nowhere and exaggerated accents; of late night drives to petrol stations on A roads, fake IDs tested in Harvesters, and faded tracksuits and over-gelled hair in Toby Carverys; of questionable hash from a "mate of a mate" and two-litre bottles of White Lightning from Budgens consumed in a kids playground. Much derided. Unglamorous, ordinary; cultural vacuity and small "c" conservatism. A hodgepodge. An—apparently—middling, middle-of-the-road middle-England of middle-class middle-mindedness. Part poetry anthology, part academic study into placemaking, and part autoethnography,The England No One Cares About innovatively brings together academic discussions of the ethnographic potential of lyrics, scholastic representations of suburbia, and thematic analysis to explore how rap music can illuminate the experiences of young men growing up in suburbia. This takes place by exploring the author’s own annotated lyrics from his career as a musician known as Context where he was referred to by the BBC as "Middle England’s Poet Laureate."

Karel Doing is an experimental filmmaker and researcher who has worked across the globe with fellow artists and filmmakers, creating a body of work that is difficult to pinpoint with a simple catchphrase. In Ruins and Resilience he weaves autobiographical elements and critical reviews together with his wide ranging interdisciplinary approach, reflecting on his own practice by positioning key works within the context of a vibrant experimental film scene in Europe, North and South America, and Asia. Doing demonstrates how experimental filmmakers have continued to renew their practice despite the almost total demise of analog motion picture film and the constant neglect of this art form by institutions and critics. Written in a fluent and accessible style, the book looks into the connections between the work of groundbreaking artists within the field and subjects such as transgression, improvisation, collectivity, materiality, phenomenology, and perception. Specifically, intersections with music and sound are investigated, appealing to the idea of the cross-modal brain, the ability to perceive sounds and images in an integrated way. Instead of looking again at the "golden era" of experimental film, the book starts in the 1980s, showing how this art form has never ceased to surprise and inspire. The author's hands-on engagement with the medium is formational for his more theoretical approach and writing, making the book a highly original contribution in the field that is informative and inspiring for academic and practitioners alike.

The practices of magic and contemporary myth-making in relation to landscape, performance, and writing.From Magic and Myth-Work to Care and Repair is a two-part book bringing together fourteen essays broadly concerned with the “fiction of the self” and with practices and explorations beyond that fiction. Each part of the book approaches this theme from a different angle.The first part, entitled “On Magic and Myth-Work,” deals with practices of transformation and with contemporary myth-making in relation to landscape, performance, and writing. The second part, “On Care and Repair,” gathers together essays that are more personal, but that also look to various technologies (or devices) of self-care alongside ideas of collaboration and the collective. Crucial throughout this exploration are questions of agency and self-narration, but also how these connect to larger issues around historical trauma, neoliberalism, and ecological crisis.The essays reference many other texts and fellow travellers, and also draw on the author's own experiences (and teaching) within various art and theory worlds, as well as with performance, magical practices, gaming, and Buddhism.

How today's dominant political forms—right-wing populism, progressivism, and liberalism—offer differentiated affective responses to shared conditions of uncertainty.The Politics of Feeling argues that politics has become a matter of political feelings in an age of uncertainty. The uncertainties of the post-2008 period have transformed the political arena and made the question of how people feel central to the formation of political affiliations and divisions.The book identifies three competing political forms in the US and the UK today: right-wing populism, progressivism, and contemporary liberalism. It argues that rather than naming coherent programs of political thought, these popular political forms are operating as arrangements of attachment and political intensity. To understand how the three political forms organise feelings and contribute to the turbulence and strangeness of politics today, the book offers a set of surprising and disruptive propositions, including ‘Populism offers affirmation and promises recognition’, ‘For progressivism, everything matters now’, and ‘Liberalism promises that nothing ever need change’.

A novel that tells a four-hundred-year-old tale of witchcraft and intrigue, reimagining the life of a servant girl who accuses her neighbors of being witches.Michael Cawood Green'snovel The Ghosting of Anne Armstrong calls up the lost voice of a fourteen-year-old girl who, between January and May 1673, made some of the most dramatic accusations in the history of English witchcraft and then disappeared, leaving behind the mystery of what drove her to insist, in the face of rejection after rejection, on telling so strange a story—ultimately at the cost of her own life.Fantastic yet compelling, Anne Armstrong's accusations against her neighbors in an isolated part of the Tyne Valley were recorded in the court depositions that form the basis for this literary thriller from Goldsmiths Press. Following a fictional historian who becomes obsessed with tracking Anne through each twist and turn of the legal proceedings, the reader is drawn ineluctably into the shadowy world where Anne's dark tale plays out to its devastating end. The narrative is shot through with questions: Why does Anne risk being suspected of witchcraft herself as she accuses an ever-increasing number of others? Is she seeking revenge, or does she want to earn money as a witch finder? How does a young, illiterate woman have such detailed knowledge of esoteric forms of witchcraft? How does she learn to understand and manipulate the legal process? Is she a victim of her own hallucinations? Or is she telling the truth—the truth as she sees it, as perhaps only she can see it? And, finally, how does she meet her lonely death in the building which—if reports about appearances of her ghost are to be believed—she has never left?

A unique exploration of the history of the bicycle in cinema, from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films.Cycling and Cinema explores the history of the bicycle in cinema from the late nineteenth century through to the present day. In this new book from Goldsmiths Press, Bruce Bennett examines a wide variety of films from around the world, ranging from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films, to consider the complex, shifting cultural significance of the bicycle. The bicycle is an everyday technology, but in examining the ways in which bicycles are used in films, Bennett reveals the rich social and cultural importance of this apparently unremarkable machine. The cinematic bicycles discussed in this book have various functions. They are the source of absurd comedy in silent films, and the vehicles that allow their owners to work in sports films and social realist cinema. They are a means of independence and escape for children in melodramas and kids' films, and the tools that offer political agency and freedom to women, as depicted in films from around the world.In recounting the cinematic history of the bicycle, Bennett reminds us that this machine is not just a practical means of transport or a child's toy, but the vehicle for a wide range of meanings concerning individual identity, social class, nationhood and belonging, family, gender, and sexuality and pleasure. As this book shows, two hundred years on from its invention, the bicycle is a revolutionary technology that retains the power to transform the world.

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts.Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology.ContributorsTaylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis.Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang

A visually striking intercultural exploration of the use of mobile phones in Aboriginal communities in Australia.

Yuta is the Yolngu word for new. Phone & Spear: A Yuta Anthropology is a project inspired by the gloriously cheeky and deeply meaningful audiovisual media made with and circulated by mobile phones by an extended Aboriginal family in northern Australia. Building on a ten-year collaboration by the community-based arts collective Miyarrka Media, the project is an experiment in the anthropology of co-creation. It is a multivoiced portrait of an Indigenous society using mobile phones inventively to affirm connections to kin and country amid the difficult and often devastating circumstances of contemporary remote Aboriginal life.

But this is not simply a book about Aboriginal art, mobile phones, and social renewal. If old anthropology understood its task as revealing one world to another, yuta anthropology is concerned with bringing different worlds into relationship. Following Yolngu social aesthetics—or what Miyarrka Media translate as “the law of feeling”—the book is a relational technology in its own right: an object that combines color, pattern, and story to bring once distant worlds into new sensuously mediated connections.