Academic Hunter Hargraves’ Uncomfortable Television considers the postmillennial spectator an active participant and contributor to the neoliberal society that is shaped by today’s television.
In Scritti Politti’s Songs to Remember, Green Gartside comically challenges hegemonic structures in a perfect harmony of philosophy and pop.
In Daniel Dockery’s Monster Kids Pikachus usher the pandemonium of Pokémania into the US, but his account of the phenomenon leaves readers wanting more.
In Playing Oppression, scholars Mary Flanagan and Mikael Jakobsson lay bare the colonialist origins of board games.
McKenzie Wark’s understanding of ravespace as a constructed situation in nonlinear ketamine-time comports with my experience raving on weekends as a freshman in college.
Lauren Berlant’s oeuvre provokes ambivalence. As with their posthumous collection On The Inconvenience of Other People I consume Berlant, and Berlant consumes me.
The Real World of College offers a research-backed, level-headed, non-political assessment of higher education. It’s a breath of fresh air let in stuffy rooms.
Stimulated by, then stimulating, certain writings, punk has been a change agent of literature, injecting energy and disruption into multiple genres.
Thirty-five years ago, Red Hot Rhythm & Blues saw Diana Ross ambitiously and affectionately placing herself within the history of Black music.
Punk’s “question everything” attitude has always been suited to education, despite the forces that seek to contain its rabble-rousing trouble-making from the classroom.
Shane Weller’s The Idea of Europe, hampered by an unconscious form of Euroscepticism, suggests that British critics are still not ready to listen to their neighbors.
Michael W. Clune argues that a popular mantra about art – everyone’s judgment is equal – impedes our ability to imagine a world outside of the capitalist marketplace.
