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However divergent their analyses may be in other ways, some
prominent anti-capitalist critics have remained critical of
contemporary debates over reparative justice for groups
historically oppressed and marginalized on the basis of race,
gender, sexual identity, sexual preference, and/or ability, arguing
that the most these struggles can hope to produce is a more
diversity-friendly capital. Meanwhile, scholars of gender and
sexuality as well as race and ethnic studies maintain that, by
elevating the socioeconomic above other logics of domination,
anti-capitalist thought fails to acknowledge specific forms and
experiences of subjugation. The thinkers and activists who appear
in Totality Inside Out reject this divisive logic altogether.
Instead, they aim for a more expansive analysis of our contemporary
moment to uncover connected sites of political struggle over racial
and economic justice, materialist feminist and queer critique,
climate change, and aesthetic value. The re-imagined account of
capitalist totality that appears in this volume illuminates the
material interlinkages between discrepant social phenomena, forms
of oppression, and group histories, offering multiple entry points
for readers who are interested in exploring how capitalism shapes
integral relations within the social whole. Contributors: Brent
Ryan Bellamy, Sarah Brouillette, Sarika Chandra, Chris Chen, Joshua
Clover, Tim Kreiner, Arthur Scarritt, Zoe Sutherland, Marina
Vishmidt
Jonathan Richman and the Modern Lovers' 1972 song "Roadrunner"
captures the freedom and wonder of cruising down the highway late
at night with the radio on. Although the song circles Boston's
beltway, its significance reaches far beyond Richman's deceptively
simple declarations of love for modern moonlight, the made world,
and rock & roll. In Roadrunner, cultural theorist and poet
Joshua Clover charts both the song's emotional power and its
elaborate history, tracing its place in popular music from Chuck
Berry to M.I.A. He also locates "Roadrunner" at the intersection of
car culture, industrialization, consumption, mobility, and
politics. Like the song itself, Clover tells a story about a
particular time and place-the American era that rock & roll
signifies-that becomes a story about love and the modern world.
The Matrix (1999), directed by the Wachowski sisters and produced
by Joel Silver, was a true end-of-the-millennium movie, a statement
of the American zeitgeist, and, as the original film in a
blockbusting franchise, a prognosis for the future of big-budget
Hollywood film-making. Starring Keanu Reeves as Neo, a computer
programmer transformed into a messianic freedom fighter, The Matrix
blends science fiction with conspiracy thriller conventions and
outlandish martial arts created with groundbreaking digital
techniques. A box-office triumph, the film was no populist
confection: its blatant allusions to highbrow contemporary
philosophy added to its appeal as a mystery to be decoded. In this
compelling study, Joshua Clover undertakes the task of decoding the
film. Examining The Matrix's digital effects and how they were
achieved, he shows how the film represents a melding of cinema and
video games (the greatest commercial threat to have faced Hollywood
since the advent of television) and achieves a hybrid kind of
immersive entertainment. He also unpacks the movie's references to
philosophy, showing how The Matrix ultimately expresses the crisis
American culture faced at the end of the 1990s.
However divergent their analyses may be in other ways, some
prominent anti-capitalist critics have remained critical of
contemporary debates over reparative justice for groups
historically oppressed and marginalized on the basis of race,
gender, sexual identity, sexual preference, and/or ability, arguing
that the most these struggles can hope to produce is a more
diversity-friendly capital. Meanwhile, scholars of gender and
sexuality as well as race and ethnic studies maintain that, by
elevating the socioeconomic above other logics of domination,
anti-capitalist thought fails to acknowledge specific forms and
experiences of subjugation. The thinkers and activists who appear
in Totality Inside Out reject this divisive logic altogether.
Instead, they aim for a more expansive analysis of our contemporary
moment to uncover connected sites of political struggle over racial
and economic justice, materialist feminist and queer critique,
climate change, and aesthetic value. The re-imagined account of
capitalist totality that appears in this volume illuminates the
material interlinkages between discrepant social phenomena, forms
of oppression, and group histories, offering multiple entry points
for readers who are interested in exploring how capitalism shapes
integral relations within the social whole. Contributors: Brent
Ryan Bellamy, Sarah Brouillette, Sarika Chandra, Chris Chen, Joshua
Clover, Tim Kreiner, Arthur Scarritt, Zoe Sutherland, Marina
Vishmidt
Baltimore. Ferguson. Tottenham. Clichy-sous-Bois. Oakland. Ours has
become an "age of riots" as the struggle of people versus state and
capital has taken to the streets. Award-winning poet and scholar
Joshua Clover offers a new understanding of this present moment and
its history. Rioting was the central form of protest in the
seventeenth and eighteenth centuries, yet it was supplanted by age
of the glorious strike and labour protests of the nineteenth and
twentieth centuries. From, from the seventies on, we're seen a
return of the strike - now changed along with the coordinates of
race and class. From early wage demands to recent social justice
campaigns pursued through occupations and blockades, Clover
connects these protests to the upheavals of a sclerotic economy in
a state of moral collapse. Riot.Strike.Riot is a tour de force of
political and theoretical analysis.
Jonathan Richman and the Modern Lovers' 1972 song "Roadrunner"
captures the freedom and wonder of cruising down the highway late
at night with the radio on. Although the song circles Boston's
beltway, its significance reaches far beyond Richman's deceptively
simple declarations of love for modern moonlight, the made world,
and rock & roll. In Roadrunner, cultural theorist and poet
Joshua Clover charts both the song's emotional power and its
elaborate history, tracing its place in popular music from Chuck
Berry to M.I.A. He also locates "Roadrunner" at the intersection of
car culture, industrialization, consumption, mobility, and
politics. Like the song itself, Clover tells a story about a
particular time and place-the American era that rock & roll
signifies-that becomes a story about love and the modern world.
In a tour de force of lyrical theory, Joshua Clover boldly
reimagines how we understand both pop music and its social context
in a vibrant exploration of a year famously described as 'the end
of history'. Amid the historic overturnings of 1989, including the
fall of the Berlin Wall, pop music also experienced striking
changes. Vividly conjuring cultural sensations and events, Clover
tracks the emergence of seemingly disconnected phenomena - from
grunge to acid house to gangsta rap - asking if 'perhaps pop had
been biding its time until 1989 came along to make sense of its
sensibility'. His analysis deftly moves among varied artists and
genres including Public Enemy, N.W.A., Dr. Dre, De La Soul, The
KLF, Nine Inch Nails, Nirvana, U2, Jesus Jones, the Scorpions,
George Michael, Madonna, Roxette, and others. This elegantly
written work, deliberately mirroring history as dialectical and
ongoing, summons forth a new understanding of how 'history had come
out to meet pop as something more than a fairytale, or something
less. A truth, a way of being'.
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