Download Stop, Thief!: The Commons, Enclosures, and Resistance by Peter Linebaugh PDF

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By Peter Linebaugh

During this travel de strength, celebrated historian Peter Linebaugh takes objective on the thieves of land, the polluters of the seas, the ravagers of the forests, the despoilers of rivers and the removers of mountaintops. Scarcely a society has existed that has now not had commoning at its center. those essays kindle the embers of reminiscence to ignite our destiny commons. From Thomas Paine to the Luddites, from Karl Marx to the sensible dreamer William Morris, to the 20th-century communist historian E.P. Thompson, Linebaugh brings to lifestyles the important commonist culture.

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Extra resources for Stop, Thief!: The Commons, Enclosures, and Resistance

Example text

The monkeys’ activities were translated to a computer environment, producing live updates published on the Web alongside a webcam view of the production scene showing the creative activity in its fuller context. The context included not only the monkeys’ gradual interest and facility in manipulating the keyboard but also their naturalization of the writing process in the corporeal procedures of everyday life as they alternately ate and defecated on the keyboard (foul papers now modernized into soiled keys).

32 In providing an alternative to Godard’s preference for cinematic “sense and direction,” Greenaway and Chris Marker will be shown to join a variety of new media artists who articulate a sense and direction for the screen arts in the age of new media. My hope is that this book’s consideration of a wide range of approaches to new media screen arts, from those of Mona Hatoum, Nam June Paik, Bill Viola and Keith Piper to Perry Hoberman, Norie Neumark, Renate Ferro, David Rokeby, and Jill Scott, will enliven the new media community’s interest in and commitment to maintaining a critical engagement with the Digital Baroque.

20 A reader who is drawn to this machinic legacy of labyrinthine vision might appreciate, for instance, the recombinant conceit of the capped bust in Portrait of a Young Man whose perspective shifts with the movement of the cursor. Resembling the prototypical Phrygian cap, this awkward object of curious perspective might well function precisely like the Holbeinian apparatus of the anamorphic skull that summons and thereby arrests the self-confident patriarchal gaze in the annihilation of subjectivity.

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