The term 'resistance', as it appears in the writings of Walter Benjamin, marks the attempt to think a politics that emerges out of a certain experience of history and time. This entry shows that Widerstand is conceived here principally as a resistance against the course of a catastrophic history — a desire for time to cease its flow and come to a standstill. ; Tom Vandeputte, 'Resistance', in Re-: An Errant Glossary , ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15 (Berlin: ICI Berlin Press, 2019), pp. 127–32
The term 'resistance', as it appears in the writings of Walter Benjamin, marks the attempt to think a politics that emerges out of a certain experience of history and time. This entry shows that 'Widerstand' is conceived here principally as a resistance against the course of a catastrophic history - a desire for time to cease its flow and come to a standstill.
Nos últimos cinquenta anos, a poesia portuguesa desenvolveu diferentes formas de resistência, reagindo não apenas a circunstâncias políticas, sociais e culturais muito diversificadas, mas também a um processo gradual de desvalorização do seu lugar e do seu papel no mundo contemporâneo. Este estudo pretende determinar e descrever diferentes modelos de resistência na (e da) poesia, tendo por referência algumas das poéticas que mais marcaram o panorama da poesia portuguesa, dos anos 60 até aos nossos dias. Obras de autores tão diferentes entre si como o são as de Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas ou José Miguel Silva têm em comum a atribuição à poesia de uma função de resistência. O que une estes autores? E o que os separa? A resposta a estas questões deverá permitir apurar uma noção de resistência na poesia e também a sua articulação com a noção de resistência da poesia.PALAVRAS-CHAVE: poesia, resistência, modernidade, contemporaneidade ; In the last fifty years Portuguese poetry developed different forms of resistance, reacting not only to political, social and cultural circumstances, but also to a gradual process of devaluation of its place and role in the contemporary world. This study aims at determining and describing different models of resistance in (and of) poetry, by considering some of the poetics that marked Portuguese poetry from the 1960's to our days. Authors as different as Carlos de Oliveira, Luiza Neto Jorge, Herberto Helder, António Franco Alexandre, João Miguel Fernandes Jorge, Adília Lopes, Ana Luísa Amaral, Manuel de Freitas or José Miguel Silva bear in common the fact that they invest poetry with a function of resistance. What brings these authors together? What separates them? The answer to these questions may provide an insight into the notion of resistance in poetry as well as its articulation with the notion of the resistance of poetry.KEYWORDS: poetry, resistance, modernity, contemporaneity
In an essay on Peter Weiss, W. G. Sebald remarked observes that 'the grotesque deformities of our inner lives have their background and origin in collective social history'. Weiss's works explore the relationships between writing and action, aesthetics and politics. This short essay discusses some fragments of texts by Weiss, asking how subjects formed and (grotesquely) deformed by history can continue to resist or intervene to alter its course. ; Hannah Proctor, 'Resistance I', in Re-: An Errant Glossary , ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 15 (Berlin: ICI Berlin Press, 2019), pp. 113–20
Our poster discusses an overview of antibiotic resistance. It goes into detail about what it is, how it came to be, and what medical professionals can do in their attempt to prevent it, as well as the general public. It also discusses the impact the impact antibiotic resistance has had on pharmacy, as well as the science behind it. A few organizations working towards this problem, and who keep a close eye on this issue are mentioned as well. We also discuss the determinants of health, which is essentially what is being done about it politically, individually, and the health services provided. Our goal is to stress the importance of properly taking antibiotics, and the potential to prevent this problem from happening. We hope you take some insight behind this issue after reading, and sparks an interest in this topic. ; https://digitalcommons.cedarville.edu/public_health_posters/1020/thumbnail.jpg
This is the story of a group of abolitionist lawyers who devoted themselves to working within a legal system that they considered to be fundamentally unjust and illegitimate. These "resistance lawyers" used the limited and unfriendly procedural tools of the hated Fugitive Slave Law of 1850 to frustrate, oppose, and, if possible, dismantle the operation of that law. Abolitionist resistance lawyers were forthrightly committed both to ensuring that their clients remained free and to using the cases that arose under the Fugitive Slave Law to wage a proxy war against the institution of slavery. Their daily direct service practices were inextricably linked to their movement politics and aspirations for systemic reform. Using new archival research that upends the existing historical consensus, I show that this linked practice was dramatically more effective than previously thought, both in protecting individual clients and as a means of building political opposition to slavery in local and national politics. This history should serve as a provocation for contemporary resistance lawyering. Many lawyers today practice within a legal system that they oppose in the hope of frustrating or dismantling that system. I suggest that today's resistance lawyers can learn from the abolitionists' integration of politics and daily practice as they fight to increase the political power and salience of their own work.
In recent years there have been expressions of anger and frustration against the Conservative and Liberal Democrat Coalition government and the predecessor New Labour government's neoliberalising policies. The momentum against government policies that immiserate a larger proportion of the population (whilst the income of the super rich globally grows at a staggering rate of 14% per year (Bower, 2013)), may seem to have diminished at present (summer 2013) but it is likely to rise, especially as direct action and local and national demonstrations continue, and as new webs and political formations of and strategies for resistance are created. As Gramsci (1971) observed, hegemony is never won outright, and the continuation of such struggles is important in building class consciousness. Whilst we recognise the powerful and growing penetration of the idea that there is no alternative (TINA) to austerity neoliberalisation, and the concomitant imposition of increasing severe sentences on those who revolt against (and not merely evade) the status quo, we believe that resistance must strengthen at the levels of ideas and activism. This belief impels this chapter. The chapter has four sections. First we outline the current political landscape that has been moulded by the ruling capitalist class embarking on an aggressive policy agenda to expand, accelerate and deepen the reality and ideology of neoliberalisation. We examine expressions and demonstrations of public anger that are resisting the neoliberal and neoconservative status quo. We then, in section two, focus on the accumulation of anger/resistance and government/media responses to this. The third section focuses specifically on anger, activism, protest and resistance in education, at school, further/vocational college level and at university level.2. A brief fourth section reports on and analyses the current state of organisation and development of resistance to immiseration capitalism in England.
Ground Resistance was a multisite installation which examined the presence, absence and temporality through the developing 'smart city' of Milton Keynes. *** A unit in the centre.mk shopping mall was converted to house a large floor-projected map of Milton Keynes, displaying a constantly updating view of geo-located data related to the 'hard' infrastructures of the city, such as energy utilities, public services, and transport. The data is being drawn from the Open University's MK:Smart data hub, a citywide project of data collection, drawn from multiple industry and governmental sources. As with many such 'smart city' systems, many of these datasets update at wildly varying rates, making any one view of the city through the data a momentary one, rather than omniscient. In Ground Resistance, this friction of time in the 'always on' smart city is the lens through which the data is seen. Each data set constantly fades in and out of view, with its rate of disappearance matching the rate at which it updates; a data set which updates every one minute will appear and then slowly fade away over one minute. A speaker installation above the map correlates ringing bells to the locations on the map below. These sounds are also synchronised to the update rate of each dataset, their volume fading as the data ages, and rising again when a new update occurs. With each data set functioning at a different set of 'real time', this creates a generative sonic environment in the space which is defined by the often-overlooked temporal element of a data-oriented view of a city. Objects suspended above head height between the projector and the floor cast shadows which match the areas of Milton Keynes that the system has no data for, drawing audience attention to this absence. The shadows appear like voids, disrupting the usual seamlessness often seen in data visualisations. Through this installation, we highlight the non-unitary and often fragmentary view of cities when seen by the data they generate, which exists in conflict with the 'data solutionism' of popular dialog surrounding smart cities. *** At a satellite installation in the nearby National Museum of Computing at Bletchley Park, an intimate watching station uses low cost and mass-produced hardware alongside open-source software to examine how the people of the city can detect and monitor data embedded in radio signals to watch the logistical infrastructure which underpins smart city technologies. The installation is presented in the gallery dedicated to the demonstration and examination of the Colossus supercomputer, which is kept operating every day. *** Finally, an online component to the work views the open data around Milton Keynes as an overlaid map, allowing viewers to plan a public transport route across the city which negotiates the density of the data in the town as if it were a topological feature of it.
My documentary work throughout college has explored how large political histories are deeply and intricately embedded in personal narrative. Oblique Resistance is my first documentary to largely bridge the connections between how a single person's story can reflect a country's political evolution from past to present. Ramon's story is a contemplative step-back from the highly technical and investigative storytelling that has been done around Philippine President Duterte's controversial administration. The reflection seeks to provide an interpretation of current events in the Philippines through a historical and diasporic lens Making this film was an exceptionally challenging process that required a level of flexibility, creativity, and problem-solving I had not previously encountered before. It was my first attempt at making a film about a current issue that is not only complicated but proved dangerous for my subjects to speak freely about. I started with a much larger idea than the final product and practiced scaling down the visual and narrative scope of the piece while maintaining the desired quality of content. After multiple trials and errors with the various directions, I decided to focus on Ramon's story because of his direct engagement with specific histories of oppression in the Philippines and his evolution of support for President Duterte's ruthless campaign against drugs. The complex nature behind majority Filipino support for the current administration is embodied in Ramon's past detainment under the dictator Ferdinand Marcos and his personal involvement with the current drug war. I used archival footage from the period when he was a student activist as a visual bridge between the slow, patient story he tells about his experience under the Marcos dictatorship to the present-day observational footage of him grappling with the effects of the drug war especially within immigrant community. The final decision to put my voice in the beginning brings the viewer immediately into the difficulties I ...
Joseph DeLappe is a visual artist and activist. Images and texts in this feature detail a diversity of creative projects and actions that challenge and question our contemporary militaristic context. These works explore the intersections of art, technology, social engagement, and interventionist strategies. The included projects utilize digital processes, interruptive strategies, and participatory processes as tools for political, social, and creative transformation.
The book focuses on art as an activity that might be unannounced, might be clandestine, in some sense it might be private, and nevertheless it takes place in shared spaces and wants to generate and participate in public debate. In recent times, amidst a backdrop of right-wing populist and separatist politics, Collectivity, Solidarity, Interdependence have emerged as important but contested terms, the key questions perhaps centering on the struggle for Unity, Antagonism and the individuated subject in a single 'body'. The book focuses on the work of Ben Cain, and invites contributions from other writers and artists in order to broadly explore a form of a socially-minded practice that involves seemingly private activity in physical public space. We are familiar with the idea of the digital public space of the Internet echo-chamber, but what happens when we apply that same idea to actions that take place in physical public space? The book is intended as an object, an object with a concept that's based on how, what, and with whom or even with what the work communicates - How does the author communicate the idea of private work and public work in his practice? And in what ways might that work act as a platform for subsequent work to be undertaken by others? Even when working in the public realm, and even while the work appears heavily invested in mobilising public dialogue and activating public space, there's sometimes an uncertainty as to whether the work actually wants to engage with the social aspect of that the space. The work's dual character of being both outward-facing and inward-facing is a thread that runs through this book, and the wider significance of this dichotomy -isolated private actions that appear to reach out to others in public space- connects to broader questions about public space as the increasingly contested site for the potential of transformative experience, shared collective experience, and political action when those public spaces are marked by excessive regulations, cultures of fear, and commercial interests. The book is co-edited by and features writing from Zagreb-based curator Davorka Vučić-Perić, published by Vizura Aperta Croatia, and will be designed by Croatian award-winning design studio Oaza.
In an essay on Peter Weiss, W. G. Sebald remarked that 'the grotesque deformities of our inner lives have their background and origin in collective social history'. Weiss's works explore the relationships between writing and action, aesthetics and politics. This short essay discusses some fragments of texts by Weiss, asking how subjects formed and (grotesquely) deformed by history can continue to resist or intervene to alter its course.
Immediately after their introduction in the beginning of the fourties of the previous century, the agents used to combat infectious diseases caused by bacteria were regarded with suspicion, but not long thereafter antibiotics had the status of miracle drugs. For decades mankind has lived under the impression that infectious diseases were no longer a threat to human health. This optimism was so high at a certain moment that antibiotics were also used against viral infections, whereas viruses are not even sensitive to antibiotics. This wrong use, or if one likes, misuse of antibiotics took also place in animal husbandry, where many tons of antibiotics were added to the feed of healthy animals, just because they grew so nicely from these additives. However, also in the use of antibiotics an ancient law in physics, "action equals reaction" turned out to be applicable. Bacteria reacted to the fact that they were attacked by changing their hereditary properties (through mutation) or by taking up parts of the hereditary properties of organisms (bacteria and fungi) able to produce certain antibiotics themselves. As a result of this reaction, already a short while after the introduction of antibiotics, the first bacteria could be isolated that had become insensitive (immune) for particular antibiotics. The bacteria in fact, had even more surprises in store. They turned out to be fanatic collectors of the pieces of hereditary properties that made them immune for antibiotics and like a stamp collector puts his stamps in an album, they also put their collection in an album (an integron). In this way, the best collectors have now become insensitive to more than ten different types of antibiotics. At the moment there are even bacteria that are not sensitive anymore to whatever type of antibiotic and for these bacteria treatment with antimicrobial agents is no longer available. Where, "work together, live together" is the current motto of the Dutch government, "work together to survive together" might be the motto of bacteria. They put this into practice by passing on their album with its integron collection from one bacterial species to the other. In this way a bacterium that used to be sensitive and could very well be treated with antibiotics can in one stroke become resistant to sometimes thirteen different antimicrobial agents, resulting in the fact that an infection with such a bacterium becomes untreatable. In this thesis research with respect to the sensitivity of the bacterium Salmonella, which can cause intestinal infections in human and animals, for antimicrobial agents is described. Since the (wrong) use of antibiotics can influence the development of resistance to antibiotics, in these studies a comparison has been made between Salmonella bacteria isolated from human, pigs, cattle and poultry in Vietnam and The Netherlands. Whereas in The Netherlands antibiotics are only available on prescription by a physician or veterinarian, antibiotics can be purchased over the counter in Vietnam. This leads to a significantly different attitude in both countries with respect to handling antibiotics. Examples are i.e. not taking a course of antibiotics of the correct dose, not taking a course of antibiotics of sufficient duration, not only taking a course of antibiotics in the case of bacterial infections and the continuing use of antibiotics as growth promoters in Vietnam. Resistance to antibiotics in Salmonella bacteria isolated in Vietnam turned out to occur frequently. In the Netherlands where the development of resistance has been monitored and registered for years the problem was hardly less. In Salmonella isolates from some animal species even resistance to antibiotics for which the use of that antibiotic is not allowed in that animal, was observed. In the current studies Salmonella bacteria have been isolated, both in Vietnam and in the Netherlands that have a collection in their integron album which is unique and has not been described before. At the end of the thesis the measures that could be taken to counteract the development of antibiotic resistance are discussed. The necessity of continuously making an inventory of the situation at local, regional, national and global level is accentuated, as is the shared responsibility that the government and civilians have with respect to the improper use of antibiotics.
Monographic Section on "Resistance in Modern Ireland" of issue 7 of the journal "Studi irlandesi: A Journal of Irish Studies". ; -- Resistance in Modern Ireland. Introduction, Dieter Reinisch -- No Rent, no Rates: Civil Disobedience Against Internment in Northern Ireland, 1971-1974, Rosa Gilbert -- From State Terrorism to Petty Harassment: A Multi-Method Approach to Understanding Repression of Irish Republicans, Robert W. White -- 'Homosexuals Are Revolting' – Gay & Lesbian Activism in the Republic of Ireland 1970s – 1990s, Patrick James McDonagh -- From Solidarity to Disillusionment, Frédéric Royall -- "Young Men of Erin, Our Dead Are Calling": Death, Immortality and the Otherworld in Modern Irish Republican Ballads, Seán Ó Cadhla -- Clowning as Human Rights Activism in Recent Devised Irish Theatre, Molly E. Ferguson -- A Politically Committed Kind of Silence. Ireland in Samuel Beckett's Catastrophe, José Francisco Fernández -- Elegant Resistance: Dermot Healy's Fighting with Shadows, Neil Murphy, Keith Hopper -- Troubles Women: A Creative Exploration of the Experience of Being a Woman in the Provisional IRA, Tracey Iceton -- Interview with Former Political Prisoner, Irish Republican Activist, and Playwright Laurence McKeown, Dieter Reinisch -- Miscellanea -- Enlightened Deception: An Analysis of Slavery in Maria Edgeworth's Whim for Whim (1798), Carmen María Fernández Rodríguez -- Brian O'Nolan, the Conspirator, Giordano Vintaloro -- The Uncanny Mother in Edna O'Brien's "Cords", "A Rose in the Heart" and "Sister Imelda", Ann Wan-lih Chang -- Satire and Trauma in Patrick McCabe's The Butcher Boy, Melania Terrazas -- "That name is a wealth to you": The Necropolitics of the Great Famine, and the Politics of Visibility, Naming and (Christian) Compassion in Joseph O'Connor's Star of the Sea, Danijela Petkovic -- Writings -- Shades of a Writing Life. Encounter with Mary O'Donnell, Giovanna Tallone -- Four Poems and Two Stories, Mary O'Donnel -- The Forgotten (Irish) History of the Mexican-American War: An Interview with Pino Cacucci, Carlos Menendez-Otero -- Recensioni / Reviews -- Libri ricevuti / Books received -- Autori / Contributors
Persistence, Resistance, ResonanceMaayan TsadkaAbstract Sound cannot travel in a vacuum, physically or socially. The ways in which sound operates are a result of acoustic properties, and the ways by which it is considered to be music are a result of social constructions. Therefore, music is always political, regardless of its content: the way it is performed and composed; the choice of instrumentation, notation, tuning; the medium of its distribution; its inherent hierarchy and power dynamics, and more. My compositional praxis makes me less interested in defining a relationship between music and politics than I am in erasing--or at least blurring--the borders between them. In this paper I discuss the aesthetics of resonance and echo in their metaphorical, physical, social, and musical manifestations. Also discussed is a political aesthetic of resonance, manifested through protest chants. I transcribe and analyze common protest chants from around the world, categorizing and unifying them as universal crowd-mobilizing rhythms. These ideas are explored musically in three pieces. Sumud: Rhetoric of Resistance in Three Movements, for two pianos and two percussion players, is a musical interpretation of the political/social concept of sumud, an Arabic word that literally means "steadfastness" and represents Palestinian non-violent resistance. The piece is based on common protest rhythms and uses the acoustic properties inherent to the instruments. The second piece, Three Piano Studies, extends some of the musical ideas and techniques used in Sumud, and explores the acoustic properties and resonance of the piano. The final set of pieces is part of my Critical Mess Music Project. These are site-specific musical works that attempt to blur the boundaries between audience, performers and composer, in part by including people without traditional musical training in the process of music making. These pieces use the natural structure and resonance of an environment, in this case, locations on the UCSC campus, and offer an active form of musical consumption and experience. The three pieces draw lines connecting different aspects of persistence, resistance, and resonance.
