Radical Cut Up

This volume investigates the cut-up as a contemporary mode of creativity and important global model of cultural production. The term cut-up thereby serves as an open container for a long list of terms and actions that describe the combination and reassembly of existing motifs, fragments, images and ideas from diverse and disconnected origins into newly synthesized entities. Refusing any disciplinary coherence, this book assembles texts from multifarious eras and origins. At the same time, the contributors share an urgency to question the dichotomy of original creation and derivative appropriation. In this way, the book itself is a cut-up of previously published essays and articles that in their proximity allow for multiple readings to arise. It aims to translate the topic into a wider societal discourse to serve as both a source of inspiration and a platform for critical reflection. Contributors Thom Bettridge, Marcus Boon, Nicolas Bourriaud, Lars Eckstein, Rachel Falconer, Lukas Feireiss, Joerg Koch, Jonathan Lethem, Lucas Mascatello, Paul D. Miller, Eduardo Navas, Tamar Shafrir, Robert Shore, Stacey Waite, and Jan Verwoert Copublished with Sandberg Instituut, Amsterdam

Classic radical feminist statement from the woman who shot Andy Warhol “Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.” Outrageous and violent, SCUM Manifesto was widely lambasted when it first appeared in 1968. Valerie Solanas, the woman who shot Andy Warhol, self-published the book just before she became a notorious household name and was confined to a mental institution. But for all its vitriol, it is impossible to dismiss as the mere rantings of a lesbian lunatic. In fact, the work has proved prescient, not only as a radical feminist analysis light years ahead of its time—predicting artificial insemination, ATMs, a feminist uprising against underrepresentation in the arts—but also as a stunning testament to the rage of an abused and destitute woman. In this edition, philosopher Avital Ronell’s introduction reconsiders the evocative exuberance of this infamous text.

In a time of uncertainty and devastation--from pandemics to environmental catastrophe--a call to action for finding beauty, creating art, and healing in community. When a beloved place is decimated by physical damage, many may hit the donate button or call their congressperson. But award-winning author Trebbe Johnson argues that we need new methods for coping with these losses and invites readers to reconsider what constitutes “worthwhile action.” She discusses real wounded places ranging from weapons-testing grounds at Eglin Air Force Base, to Appalachian mountain tops destroyed by mining. These stories, along with tools for community engagement—ceremony, vigil, apology, and the creation of art with on-site materials—show us how we can find beauty in these places and discover new sources of meaning and community.

Renowned political scientist Terri Givens calls for ‘radical empathy’ in bridging racial divides to understand the origins of our biases, including internalized oppression. Deftly weaving together her own experiences with the political, she offers practical steps to call out racism and bring about radical social change.

Radical Chic and Mau-Mauing the Flak Catchers is classic Tom Wolfe, a funny, irreverent, and "delicious" (The Wall Street Journal) dissection of class and status by the master of New Journalism The phrase 'radical chic' was coined by Tom Wolfe in 1970 when Leonard Bernstein gave a party for the Black Panthers at his duplex apartment on Park Avenue. That incongruous scene is re-created here in high fidelity as is another meeting ground between militant minorities and the liberal white establishment. Radical Chic provocatively explores the relationship between Black rage and White guilt. Mau-Mauing the Flak Catchers, set in San Francisco at the Office of Economic Opportunity, details the corruption and dysfunction of the anti-poverty programs run at that time. Wolfe uncovers how much of the program's money failed to reach its intended recipients. Instead, hustlers gamed the system, causing the OEO efforts to fail the impoverished communities.

Presents the story of Plenty Coups, the last great Chief of the Crow Nation. This title contains a philosophical and ethical inquiry into a people faced with the end of their way of life.

Your Value Proposition is not your Elevator Pitch, Positioning Statement, or Unique Selling Proposition. Your Value Proposition is the sum total of all the value you bring to your prospects, clients, strategic partners, and even your employees. Your Value Proposition is the foundation of your business. No value proposition = No business! In today's world of marketing-message overload, the most effective way to grab someone's attention is through radically relevant and critically compelling messaging. Communicating a relevant and compelling value proposition has always been a critical part of winning new business. And your overwhelmed prospects and clients need and even expect your value proposition to be bullseye relevant and continually compelling. In Radical Relevance, Hall of Fame marketer and speaker Bill Cates, lays out your complete road map to discover, formulate, and communicate your value proposition in a way that will be irresistible to just the right prospects, compel them to follow your recommendations, and repel prospects who aren't a perfect fit. Remember: if you try to appeal to everyone, you run the risk of appealing to no one.It's time to take a stand with your value!It's time to get Radically Relevant!

Reimagining the scholarly book as living and collaborative--not as commodified and essentialized, but in all its dynamic materiality. In this book, Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project--not as linear, bound, and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema's proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality. Adema suggests ways to unbind the book, describing experiments in scholarly book publishing with new forms of anonymous collaborative authorship, radical open access publishing, and processual, living, and remixed publications, among other practices. She doesn't cast digital as the solution and print as the problem; the problem in scholarly publishing, she argues, is not print itself, but the way print has been commodified and essentialized. Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. Finally, asking why it is that we cut and bind our research together at all, she examines two book publishing projects that experiment with remix and reuse and try to rethink and reperform the book-apparatus by taking responsibility for the cuts they make.