Resist!: How to Be an Activist in the Age of Defiance

A collection of poems and drawings self-published by political theatre maker Maya at an important period during their life and inspired much of their later work.

The Hologram is a feminist health militia that produces networks where we can practice skills like trust, communication, and cooperation that will help us outlast capitalism.

This collection brings together six seminal works of British alternative feminist and women’s theatre from the archive, with a contextual introductory text by Dr. Susan Croft, co-founder of Unfinished Histories.

A compilation of images by Anne Bean from Dubinski notebooks. 

Article and performance photos from artist Eirini Kartsaki.

Making performance works for four decades, British experimental theatre collective Forced Entertainment has become globally renowned for its singular aesthetic and audacious events, melding narrative fragments with strange acts, broken poetry, audience provocations, and comcial failure. With its low-fi theatre, intimate text-based works, and epic durational spectacles, the group has profoundly influenced the international performance scene, evoking and testing the politics of contemporary life.

Research Highlights: Documenting and understanding experiences of backlash currently being received against LGBTQIA+ cultural programming and/or creatives in the UK’s cultural sector from 2020-2025.

Sabrina Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals–where fat bodies were once praised–showing that fat phobia, as it relates to black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority.
Fearing the Black Body argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. An important and original work, it reveals that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice.

Sonia Boyce (b.1962) is a groundbreaking artist whose practice is founded on taking creative risks. Unafraid to play against set expectations about how art should behave, her collaborative interactions between audience and performer enable spontaneous and intimate social encounters, resulting in the creation of work that is simultaneously self-aware, visceral and open-ended.

This book is a much-anticipated introduction to the life and work of this extraordinary artist. Touching on her engagement with the work of other feminist artists and her time as a leading figure in the 1980s Black British Art movement, it contextualizes Boyce’s journey from her early pastel drawings and collages to her pivotal shift to film, sound, and performance art. Highlighting her artistic innovation as she experiments with medium to explore and question culture, identity and the boundaries between the public and private spheres in unexpected ways, it celebrates the visionary practice of a truly uncompromising artist.

Este livro é composto de narrativas simbólicas construídas por diferentes mulheres, tendo como disparador criativo as memórias e vivências da orla e da cidade de Fortaleza. Suas palavras presentificam a forma como o corpo e a subjetividade feminina constituem historicidades para além das impostas sócio-historicamente. Mergulhar nele é entrar em outros mares.

This publication is in Portuguese (Brasil)

The Bolivian scholar and activist Silvia Rivera Cusicanqui is a pre-eminent Latin American intellectual, world renowned for her work in postcolonial and subaltern studies.  She has long maintained that we must acknowledge how colonial structures of domination continue to affect indigenous identities and cultures. Even in contexts where diversity and the value of indigenous cultures have been officially recognized, “internal colonialism” operates as a structure that shapes mental categories and social practices.

This book considers this persistent colonial structure by examining artistic and popular practices of apprehending and resisting it, arguing that in Andean cultures there is a sustained practice of insubordinate image production and use. Combining this visual history with other instances of political resistance, the book offers an alternative narrative to the history of Latin American decolonisation.  This narrative challenges the common conception that mestizaje (race-mixing) and hybridity are liberatory formations, offering instead a new theorisation of the complex racial configurations produced by colonialism and its afterlives.

Given Rivera Cusicanqui’s vital contribution to critical epistemologies, this book will be of great interest to students and scholars throughout the humanities and social sciences and to everyone concerned with the key questions of critical theory today.

What do cinematic “universes,” cloud archiving, and voice cloning have in common? They’re in the business of foreverizing – the process of revitalizing things that have degraded, failed, or disappeared so that they can remain active in the present. To foreverize something is to reanimate it, to enclose and protect it from time and the elements, and to eradicate the feeling of nostalgia that accompanies loss. Foreverizing is a bulwark against instability, but it isn’t an infallible enterprise. That which is promised to last forever often does not, and that which is disposed of can sometimes last, disturbingly, forever.

In this groundbreaking book, American philosopher Grafton Tanner develops his theory of foreverism: an anti-nostalgic discourse that promises growth without change and life without loss. Engaging with pressing issues from the ecological impact of data storage to the rise of reboot culture, Tanner tracks the implications of a society averse to nostalgia and reveals the new weapons we have for eliminating it.