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This book addresses the need to re-imagine and re-conceptualise the Just City in light of recent systemic shocks: climate change, the pandemic, a generalised erosion of democratic standards and more. It contains texts by a number of guests and 43 manifestos written by students from 25 universities from all over the world.A “Manifesto for the Just City” comes in the wake of the realisation that socio-spatial justice is a crucial dimension for sustainability transitions. Growing inequality and the erosion of the public sphere undermine the social and political structures required to fight climate change, pandemics and other systemic shocks. With this book, we have sought to encourage students to formulate their own visions for the Just City and for a just transition.This book is result of an Urban Thinkers Campus organised between 9 and 30 November 2020. The Urban Thinkers Campus (UTC) model is an initiative of UN-Habitat’s World Urban Campaign, conceived in 2014 as an open space for critical exchange between stakeholders and partners. It aims to promote debate and action on sustainable and inclusive urbanization upholding the principles and guidelines contained in the New Urban Agenda, launched at Habitat-III in 2016 in Quito, Ecuador.

Just City --- Spatial Justice --- New Urban Agenda --- World Urban Campaign --- Democracy --- Participatory planning --- Urban visioning --- Manifesto

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Why a study of political language use? The most important tool in politics is language, as an instrument with which opinions are articulated and disseminated, with which political decisions and decisions representing the will of the people are made. However, the language of politics is also a language of influence. Thus, political parties try to promote their own programs with the help of their party programs (basic programs, election programs) and in this respect represent an important as well as interesting type of text in the field of political communication. Party programs serve, for example, to promote internal party understanding, external self-presentation and as a basis for public understanding. Andreas Ickes presents the text type party program in its various variations and forms of realization. He documents those aspects of the linguistic form that are characteristic of this text type and locates the use of de type party program in the structure of political communication. The detailed presentation is underpinned with cross-party sample material, annotated text passages, or even forms of contrastive analysis. Thus, the analysis and reflection of political language use helps not only to recognize the linguistic possibilities of conveying content, but also to improve one's own critical faculties. Warum eine Untersuchung der politischen Sprachverwendung? Das wichtigste Werkzeug in der Politik ist die Sprache, als Instrument, mit dem Meinungen artikuliert und verbreitet werden, mit dem politische und den Willen des Volkes repräsentierende Entscheidungen getroffen werden. Die Sprache der Politik ist jedoch auch eine Sprache der Beeinflussung. So versuchen politische Parteien, mit Hilfe ihrer Parteiprogramme (Grundsatzprogramme, Wahlprogramme) für die eigene Programmatik zu werben und stellen insofern einen wichtigen wie interessanten Texttyp im Bereich der politischen Kommunikation dar. Die Parteiprogramme dienen etwa der innerparteilichen Verständigung, der Selbstdarstellung nach außen und als Grundlage für die Verständigung in der Öffentlichkeit. Andreas Ickes stellt den Texttyp Parteiprogramm in seinen diversen Spielarten und Realisierungsformen vor. Er dokumentiert diejenigen Aspekte der sprachlichen Gestalt, die für diesen Texttyp charakteristisch sind und verortet den Gebrauch von de Typs Parteiprogramm im Gefüge der politischen Kommunikation. Die detaillierte Darstellung ist mit parteiübergreifendem Beispielmaterial, kommentierten Textstellen oder auch Formen der kontrastiven Analyse unterfüttert. So hilft die Analyse und Reflexion der politischen Sprachverwendung, die sprachlichen Möglichkeiten der Inhaltsvermittlung nicht nur zu erkennen, sondern auch die eigene Kritikfähigkeit zu verbessern.

Communication studies --- Political manifestos --- Political campaigning & advertising --- party program --- manifesto --- political communication --- political images --- speech communication --- political campaign speeches, political parties --- party program --- manifesto --- political communication --- political images --- speech communication --- political campaign speeches, political parties

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In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the "unskilled" and the "economically invisible." It is a potentially disruptive archive that capitalism can't always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our "risk society" and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an "art gang" that masquerades, disseminates and performs as your archetypal "criminals," "outcasts" "mystics," "losers" and "lunatics": in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet's novel The Thief's Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground "kulchurs" and academia's collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a "deathpunk" show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a "crime art collective," with cells operating in cities most in need of "crime-art," while also re-asserting itself as an ongoing "transmedia" project. This present archive is a small fraction of the decade's worth of Garter experiments, epistles, stories and communiques. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, "unskilled" or "a failure" (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own "criminal," "dangerous" and "unassimiliable" nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.Conceived in 2004 as a gritty mail art project called TresPassions Unlimited, the Iron Garters were established as a full-fledged "art gang" in the Bernal Heights area of San Francisco in 2010. Then almost instantly they vanished yet not before secreting reams of strange, tantalizing and vitriolic propaganda. Today, the Garters have reformed into several cells: a mail network, an inflammatory writing collective, a gaggle of art-activist instigators and a semi-fictional band of heathen outlaws. All of these groups unite and mobilize under the mantle, The Iron Garters Crime Art Collective. Prospective members should inquire for initiatory matters at: thesaltedlash@gmail.com.

Arts, Modern --- Arts, American --- Iron Garters Crime/Art Collective. --- aesthetics --- art activism --- disruptive collectives --- mail art --- manifesto

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eebo-0018

Anabaptists --- Broadsides --- Soldiers --- Billeting --- Serious manifesto and declaration of the Anabaptist and other controversial churches --- Great Britain --- History

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In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the "unskilled" and the "economically invisible." It is a potentially disruptive archive that capitalism can't always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our "risk society" and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an "art gang" that masquerades, disseminates and performs as your archetypal "criminals," "outcasts" "mystics," "losers" and "lunatics": in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet's novel The Thief's Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground "kulchurs" and academia's collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a "deathpunk" show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a "crime art collective," with cells operating in cities most in need of "crime-art," while also re-asserting itself as an ongoing "transmedia" project. This present archive is a small fraction of the decade's worth of Garter experiments, epistles, stories and communiques. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, "unskilled" or "a failure" (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own "criminal," "dangerous" and "unassimiliable" nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.Conceived in 2004 as a gritty mail art project called TresPassions Unlimited, the Iron Garters were established as a full-fledged "art gang" in the Bernal Heights area of San Francisco in 2010. Then almost instantly they vanished yet not before secreting reams of strange, tantalizing and vitriolic propaganda. Today, the Garters have reformed into several cells: a mail network, an inflammatory writing collective, a gaggle of art-activist instigators and a semi-fictional band of heathen outlaws. All of these groups unite and mobilize under the mantle, The Iron Garters Crime Art Collective. Prospective members should inquire for initiatory matters at: thesaltedlash@gmail.com.

Arts, Modern --- Arts, American --- aesthetics --- art activism --- disruptive collectives --- mail art --- manifesto --- Iron Garters Crime/Art Collective.