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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.

If stronger global governmental institutions of the sort favored by Robert Paehlke (2001) come into being, resistance is necessary to influence them in the direction of social justice & environmental sustainability. If the international system remains more decentralized, transnational resistance networks are necessary to influence the content & relative weight of the discourses that order the system. Either way, resistance is central to effective global green politics. 9 References. Adapted from the source document.