Suturing Working Class Subjectivities: Media Mobilizing Project and the Role of Media Building a Class-Based Social Movement

Triple C: Communication, Capitalism and Critique Volume 10, Number 1, 2012   Abstract Due to the increasingly atomized, isolated nature of social life, as well as the apparent splintering of the working class under neoliberal capitalism, media serve a pivotal infrastructural function for generating the necessary commonality between the fractured sectors of the contemporary working class. This article ethnographically and

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Class In-Formation: The Intersection of Old and New Media in Contemporary Urban Social Movements

Social Movement Studies, Volume 13, Issue 3, 2014 DOI: 10.1080/14742837.2013.831755 Peter Nikolaus Funkea & Todd Wolfsonb* pages 349-364 Published online: 19 Sep 2013 Abstract This article starts out by distinguishing between communication and communication mediums when examining social movement-powered formations of collective identity and collective action. We then focus on communication mediums to examine the different ways that old and new media are

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Interview with Philip Rizk by Shuruq Harb

“The revolution is not a thing of the past, the revolution is still in process.” Philip Rizk stated as we began our discussion of his text “2011 is not 1968”, whereby he challenges the dominant narratives of the January 25th Revolution as a youth lead revolution. He argues that the radicalizing factor of the uprising was an underclass without leaders.

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Exploring Genocide: educational challenges and opportunities

DevelopmentEducation.ie Action Projects AUTHOR DETAILS Colm Regan 80:20 Educating and Acting for a Better World – www.8020.ie   The mural was co-ordinated by John Johnston of 80:20 (now with Goldsmith’s College, London) and Valarie Duffy (now with the National Youth Council of Ireland). PARTICIPANTS Young people 14+; over 9 schools and two youth organisations from East Belfast and the Republic

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Deptford student mural tells police: things must change

  EAST LONDON LINES December 3, 2012 | Posted by:  Laura Liszewski |  Three scenes stand side by side, occupying a vibrantly painted mural. On the far left, a menacing officer’s mouth opens wide to expose a prisoner behind bars, on the far right hooded youths stand, pressed against walls and try to reach through blue chains, while in the middle of it

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Blue Bra Graffiti (Bahia Shehab)

BY Nama Khalil 2 September 2014, Design and Violence From the curators: Using sexual violence to intimidate, crack down on dissent, or brutalize opposition is nothing new. Neither is graffiti—illicit drawings are older than Pompeii. However, such designs have taken on new life of late, paralleling an increased public and political focus on female sexuality. During the wave of disparate yet

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Bahia Shehab: Art As a Tool for Change

  24 March 2014, Louisiana Channel “Graffiti is like flowers. They are beautiful, but they don’t live long.” An interview with Lebanese-Egyptian street-artist Bahia Shehab about the role of art during the Arab spring: “You cannot resist ideas. They can travel into any mind.” “I am a quiet person, I don’t know how to scream”, says Bahia Shehab. “My contribution

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A thousand times NO: Fellows Friday with Bahia Shehab

Posted by: Karen Eng September 7, 2012 TED Blog When art historian and scholar of Arabic script Bahia Shehab was asked to create a piece commemorating the centenary of the first exhibition on Islamic art in Europe, little did she know that the Egyptian revolution would ultimately transform her into a street artist and activist with a powerful and subtle voice of protest.

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