Shifting Currents

A deep dive into the history of aquatics that exposes centuries-old tensions of race, gender, and power at the root of many contemporary swimming controversies. Shifting Currents is an original and comprehensive history of swimming. It examines the tension that arose when non-swimming northerners met African and Southeast Asian swimmers. Using archaeological, textual, and art-historical sources, Karen Eva Carr shows how the water simultaneously attracted and repelled these northerners—swimming seemed uncanny, related to witchcraft and sin. Europeans used Africans’ and Native Americans’ swimming skills to justify enslaving them, but northerners also wanted to claim water’s power for themselves. They imagined that swimming would bring them health and demonstrate their scientific modernity. As Carr reveals, this unresolved tension still sexualizes women’s swimming and marginalizes Black and Indigenous swimmers today. Thus, the history of swimming offers a new lens through which to gain a clearer view of race, gender, and power on a centuries-long scale.

With new technologies and additional goals driving their institutions, archives are changing drastically. This book shows how the foundations of archival practice can be brought forward to adapt to new environments—while adhering to the key principles of preservation and access. Archives of all types are experiencing a resurgence, evolving to meet new environments (digital and physical) and new priorities. To meet those changes, professional archivist education programs—now one of the more active segments of LIS schools—are proliferating as well. This book identifies core archival theories and approaches and how those interact with major issues and trends in the field. The essays explore the progression of archival thinking today, discussing the nature of archives in light of present-day roles for archivists and archival institutions in the preservation of documentary heritage. Examining new conceptualizations and emerging frameworks through the lenses of core archival practice and theory, the book covers core foundational topics, such as the nature of archives, the ruling concept of provenance, and the principal functions of archivists, discussing each in the context of current and future environments and priorities. Several new essays on topics of central importance not treated in the first edition are included, such as digital preservation and the influence of new technologies on institutional programs that facilitate archival access, advocacy, and outreach; the changing legal context of archives and archival work; and the archival collections of private persons and organizations. Readers will also learn how communities of various kinds intersect with the archival mission and how other disciplines' perspectives on archives can open new avenues.

As head FX strategist at CMC Markets–one of the world's leading forex/commodity brokers–Ashraf Laidi understands the forces shaping today's currency market and their interplay with interest rates, equities, and commodities. And now, with Currency Trading and Intermarket Analysis, he shares his extensive experiences in this field with you. Throughout the book, Laidi outlines the tools needed to understand the macroeconomic and financial nuances of this dynamic field and provides you with insights that are essential to making the most of your time within it.

Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself. Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.

Shifting Currents presents a comprehensive history of swimming from a new and original perspective. Using archaeological, textual and art-historical sources, Karen Eva Carr charts the tension that arose when non-swimming northerners met African and Southeast Asian swimmers.

On 300 acres of fields and bush, in the harsh climate of northern Ontario, fantasies of pastoral serenity clash with reality, as visions of a family goat in the field morph into the sight of a dead cow in the barn. Traditional middle-class measures of success battle counter-culture alternatives, as the narrator struggles with her emerging self-image as "just" a farm wife. A cacophony of voices urges her to fulfill her potential as an educated, liberated woman, while she commits myself to baking bread and churning butter. The arrogance of book-knowledge butts heads with traditional, first-hand knowledge, when the first hay crop threatened to burn down the barn. And as a newcomer to a community where prevailing attitudes collide with her own deeply held beliefs, she searches for a way to fit in. Shifting Currents, is more than a story about going back to the land. With rural northern Ontario in the 1970s and 1980s as a backdrop, it delves into the personal conflicts and social pressures afflicting the generation of the 1960s as they moved into middle adulthood. In the harsh climate of northern Ontario, fantasies of pastoral serenity clashed with reality, traditional middle-class measures of success battled counter-culture and feminist alternatives, and the arrogance of book-knowledge butted heads with traditional, hands-on competence. "Beautifully written, by turns wry and poignant, Shifting Currents turns a landscape into a heartscape you will never forget." -Bill Roorbach, author of Temple Stream, Writing Life Stories, Life Among Giants and The Remedy for Love

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