Podcast appearances and mentions of Ellis Jones

We open by discussing an Irish goodbye vs a French exit. The phraseology is different but the outcome is the same; “Leaving the Party Early.” The first song on Trust Fund's excellent Has it Been A While? and a perfect introduction to the introspection, paradoxes, and uncertainty all coming from a core human experience: terrified of being known, and knowing that's the only way to be loved. Trust Fund ringleader Ellis Jones' dexterous guitar work follows him through philosophical discussions entwined with urban decay and never ending construction. It's easy enough to agree with Nietzsche when your city is covered in scaffolding, the local housing authority swearing it'll be done soon. But just as many revelations come in small personal moments like a holiday shattered by grief (“In the Air”) or the contradiction duet of “The Mirror.” Has it Been A While? is Trust Fund's first album in 6 years, and its beauty and natural curiosity feel miraculous. We talked to Jones below.

Clive Anderson is joined by actor Shazad Latif, who stars as Nemo in 'Nautilus', a new ten part TV series based on Jules Verne's 20,000 Leagues Under The Sea. Latif's TV credits include Spooks, The Pursuit of Love and Toast of London, where he played the fan favourite Clem Fandango. And he's also joined by Michael Cumming, who directed Latif in three series of Toast of London. He is currently touring his documentary film 'Oxide Ghosts', a collection of outtakes and behind the scenes footage from the cult series 'Brass Eye' only ever shown at special live screenings.Laurie Anderson is one of the world's most pioneering creative artists. Her documentary film 'Heart of a Dog' was nominated for an Oscar, and she had a surprise hit in 1981 with her song 'O Superman', which reached number two in the UK singles chart. Her new Multimedia show ARK: United States V has just opened at Manchester's Factory International. Comedian Sooz Kempner's most recent stand up show is 'Class of 2000'. It takes her back to sitting her GCSE's in a state school in the year 2000 while being preoccupied with horses, EastEnders and the millenium bug. It's also about the architectural wonder of the Viennetta. Sooz is also one of the hosts of The Queen Podcast. Music is from Trust Fund, the musical project of Ellis Jones. After taking a break from music Jones is back with a new album 'Has it been a while?' And we also have a performance from Manchester based soul-pop artist Ellen Beth Abdi.Presenter: Clive Anderson Producer: Jessica Treen

Rhodri Ellis Jones, ffotograffydd dogfen o Ddyffryn Ogwen sy'n byw ger Bologna yn yr Eidal yw gwestai Beti George. Mae wedi gweithio ar draws y byd yn Affrica, Albania, Cuba, Nicaragua ac El Salvador ac wedi dogfennu yn ddiweddar pobol leiafrifol yn China. Mae bellach yn ddinesydd yr Eidal ac yn rhannu hanesion ei blentyndod yn Sling, Tregarth a'r bywyd anturus mae o wedi ei fyw.Fe fydd arddangosfa o'i waith diweddaraf COFIO yn Storiel, Bangor, rhwng Medi'r 7fed tan yr 2il o Dachwedd 2024.

Nigel Smith is managing partner and solicitor at Ellis Jones Solicitors, which have offices in Dorset and Hampshire as well as London. From his serendipitous path to becoming a lawyer, the pleasures and challenges of running a professional services business and watching members of the team develop, other topics covered include adapting to the changing landscape of professional services, Ellis Jones's commitment to community, the motivation behind signing up for the Armed Forces Covenant, and the emphasis that Nigel places on Ellis Jones' values and how they help to build and maintain relationships.

When the rubber hits the road, one tire company stands out among the rest. From raw material traceability to supply chain transparency, The Goodyear Tire & Rubber Company is not only helping to do what's good for business, but what's good for the planet. . Driven by an ambitious sustainability strategy, Goodyear has set goals to develop a tire made of 100% sustainable materials by 2030 and using only renewable energy in its manufacturing facilities and operations by 2040. The company is even working to develop a domestic source of natural rubber from a specific species of dandelion in collaboration with the Department of Defense, the Air Force Research Lab, BioMADE and Farmed Materials. .  To learn more about Goodyear's impressive sustainability journey, we sat down with Ellis Jones, Vice President and Chief Sustainability Officer. He discusses the company's uniquely strong culture, the importance of working collaboratively with small farms, and the development of new sustainable tire materials. . You'll even get a glimpse into the future with intelligent tires that enable fleets to identify and address problems in real time—and learn how Goodyear is evolving its products as EVs and AVs hit the road.  . We'd love to hear from you. Share your comments, questions and ideas for future topics and guests to podcast@sae.org. Don't forget to take a moment to follow SAE Tomorrow Today—a podcast where we discuss emerging technology and trends in mobility with the leaders, innovators and strategists making it all happen—and give us a review on your preferred podcasting platform. . Follow SAE on LinkedIn, Instagram, Facebook, Twitter, and YouTube. Follow host Grayson Brulte on LinkedIn, Twitter, and Instagram.

As we enter the final weeks of the year I wanted to highlight some amazing dads in my life and not only talk about their experiences as fathers but specifically fathers of sons. We are living in scary times and our young men need strong role models in their lives. Check out part 1 of Raising Kings with guests Bernard King, Ellis Jones and Stephane Bellande.  --- Support this podcast: https://podcasters.spotify.com/pod/show/shoutalks/support

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Since the 1970s, there has been a rich, global lineage of broadly guitar-based music scenes which have enacted a political critique of the commercial music industries under the banner of ‘DIY'. DIY music practice has involved taking control of production and distribution processes and lowering barriers to participation and performance, as a form of cultural resistance. In DIY Music and the Politics of Social Media (Bloomsbury, 2020), Ellis Jones analyses the effects of the internet and social media on the inner lives and the communal music-making of practitioners in contemporary DIY music scenes. Jones provides a nuanced and original reading of the points of convergence and (substantial) divergence between the emancipatory and participatory rhetoric of digital platforms and the ethical imperatives of DIY music, past and present. He argues that the imperatives toward self-branding, commodification and individualization that are baked into the affordances of social media are fundamentally inimical to the convivial, oppositional politics of DIY music. As digital platforms seep into and mediate more and more facets of everyday life, this book underscores the need for a renewed critique of the conditions of cultural production – and offers valuable points of departure for forms of culturally resistant DIY musicking in the 21st Century. Ellis Jones is a Lecturer in Music and Management in the Department of Music at the University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Catrin Ellis Jones yw gwestai Beti ai Phobol, ac mae ei stori yn mynd a ni o Sling, Tregarth i Folivia a Chile a nôl i'r Fenni lle mae hi'n byw bellach gyda'i theulu. Mae hi'n gweithio gydag un o gwmnïau gwerthu ynni mwyaf Ewrop, Vattenfall fel Pennaeth Ymrwymiad Rhanddeiliaid a Chymunedau ac yn trafod gyda chymunedau sut y gall ynni gwynt fod o fantais iddynt. Bu'n byw ac yn gweithio ym Molivia a Chile, De America am flynyddoedd yn chwilio am fwynau ac yn cydweithio gyda'r bobol gynhenid. Mae hi bellach yn gweithio ar brosiectau ynni yn ein moroedd. "36 % o ynni adnewyddol 'da ni'n ei ddefnyddio yng Nghymru, 60% yn yr Alban, be sw ni'n licio'i weld ydi Cymru ar flaen y gad gyda thechnoleg newydd sydd i ddod fel bod ni'n creu hi'n bosib i ni ddi-garboneiddio mwy o'n diwydiant ni". " Mi fydda Cymru yn medru gwneud dur di-garbon" meddai Catrin.

Our founder Mark Bergin is joined by David Constantine for this episode of the Better Future Spotlight. David is Principal and Director at Ellis Jones and is thoroughly committed to using design as a positive change maker. David and Mark challenge each other to reflect on their own understandings of design and the verbal handles they each use to describe it. This is a conversation about exploring bigger ideas, new solutions, and different angles on the expedition into a better future.View the episode and show notes here.

When Goodyear's customers call for supply chain sustainability, they want the company to prioritize sustainable materials, zero emissions, and processes that emphasize circularity. But they also want Goodyear to demonstrate stewardship of more than what happens inside their own four walls. They want the company to be able to trace products, not just from tier one suppliers, but all the way through the supply chain, to tier 2, 3, and 4 suppliers. The challenge may be substantial, but if the team is willing there is nothing they cannot achieve.In this episode, Hosts Scott Luton and Billy Taylor, AME Board Member and CEO and President of LinkedXL, are Joined by special guest Ellis Jones, Global VP EHS&S at the Goodyear Tire and Rubber Company. With Supply Chain Now Host Scott Luton representing the voice of a live audience, Ellis and Billy share stories and experiences from their time working together at Goodyear, including:  - How companies can balance the benefits of management systems with the need employees have to feel secure in their positions  - Why it is important for everyone on the team, from the bottom to the top, to buy into a unique and common definition of ‘winning'  - The critical importance of having both visibility and traceability if a supply chain is to become more sustainable Additional Links & Resources: Learn more about Supply Chain Now: https://supplychainnow.com/program/supply-chain-now Subscribe to Supply Chain Now and all other Supply Chain Now programs: https://supplychainnow.com/subscribe (https://supplychainnow.com/subscribe) Learn more about AME: https://www.ame.org/ (https://www.ame.org/) Register for the 2021 Supply Chain Insights Global Summit: https://lnkd.in/dMYq3Rv (https://lnkd.in/dMYq3Rv) Register for the OMNIA Partners Connections Conference: https://bit.ly/3jHlwdv (https://bit.ly/3jHlwdv) WEBINAR- How Digital Transformation Accelerates & Strengthens Your Supply Chain with Esker Inc: https://lnkd.in/gTqW-wb (https://lnkd.in/gTqW-wb) WEBINAR- Mini-Master Class: Tips & Tools for Optimizing Professional Development & Job Seeking: https://bit.ly/2V0lTFy (https://bit.ly/2V0lTFy) WEBINAR- What You Can Learn From a Digital-First DTC Brand: Quip's Omnichannel Evolution: https://bit.ly/2TFPS5j (https://bit.ly/2TFPS5j) 2021 Supply Chain and Procurement Awards: https://lnkd.in/gxp7bQy (https://lnkd.in/gxp7bQy) This episode was hosted by Scott Luton and Billy Taylor. For additional information, please visit our dedicated show page at: https://supplychainnow.com/goodyear-ame-683.

In this episode I’m speaking with Dr. Ellis Jones, a sociologist and professor at College of the Holy Cross who focuses on social responsibility, global citizenship and everyday activism, all with an emphasis on how to turn environmental idealism into practical action. He has created  The Better World shopping guides, website and apps that focus on how to approach consumerism in a more environmentally conscious manner.During our conversation, we explore how to hold power accountable, the path of reclaiming our collective voice in society and the move toward global citizenship--all with an eye on creating a more sustainable and environmentally just planet.Episode Links:Better World Shopper Apps:Better World ShopperVoter GlassMedia Glass

'DIY Music and the Politics of Social Media'. That is the name of Ellis Jones' first book. It's a great read on... well the clue is in the title of the book.Ellis plays music in Podcasts and was most prolific under the name Trust Fund, where he released a few albums, a split or two and a bunch of ep's. We talk about Ellis' time playing music as well as being part of DIY and music communities as well as going in deep about ideas of what DIY is to him, and us, and others? I ask why there has been less music over the last few years, what it means to write academically and loads more.I loved this chat. I hope you do too!Enjoy xo See acast.com/privacy for privacy and opt-out information.

Join host Christian Bartney and guest Ellis Jones as they talk about their new year's resolutions and how to follow them.

Ellis Jones, senior director of global environment, health, safety and sustainability for Goodyear, and MBOE alumnus, sat down with Aravind to discuss strategy deployment and how he's used principles of Operational Excellence within his role.

We vote for a prime minister or president every 3 or 4 years, however we vote every single day with our wallet. Real, raw, grass roots level change, the type that actually has the PM or pres. do what's needed is triggered by how and where we spend our money. Dr Ellis Jones has created The Better World Shopper: An incredible guide that tells you WHERE you're money is going (when you make a purchase) and what you've actually voted for with that transaction. FASCINATING stuff. Listen IN!

Dr. Ellis Jones is a political scientist-turned sociologist, who, for 17+ years, has been studying the power of consumer consciousness on the US democracy. He is the creator of the wildly-successful Better World Shopper app and written guide, which aims to provide objective and accurate data on the social responsibility rating of various companies. In this interview, you'll hear: - Why the ethical consumer movement is working - Where you have power as a consumer even though you may not feel powerful. - How spending an extra dollar or two on companies like Seventh Generation impacts the world. - How you can change the world without spending more money

The VICE Magazine Podcast is your definitive monthly guide to enlightening information. Hosted by Ellis Jones, Editor-in-Chief of VICE Magazine, each episode brings in-depth interviews, sonically rich cultural insights, and offers a rare glimpse into how the magazine is made. This episode features: Behind The Cover: VICE Magazine's photo-editor Elizabeth Renstrom details the significance of the latest cover, taking readers behind the scenes with insider information about how the cover came to be. How Does It Work: Infographic wizard Haisam Hussein breaks down the future of medical technology. Deep Dive: We'll explore the world of virtual reality porn with investigative journalist and published author Emily Witt Roundtable: A discussion with the VICE magazine team and guest editors from Waypoint, Motherboard, and The Creators Project Artifact: Motherboard's feature editor Brian Anderson shares a story about a memento he picked up while visiting a morgue in Mexico. Can you guess what it is? Hosted on Acast. See acast.com/privacy for more information.

Ellis Jones is the editor-in-chief of VICE Magazine. “I’m just not an edgy person. You know what I mean? I think I am a nice person. I think VICE Magazine reflects the qualities that I want to have or think that I have or that my team has. The magazine would be terrible if I tried to make edgy content ... people would just see right through it. It wouldn’t be good. Thanks to MailChimp and EveryLibrary for sponsoring this week's episode. @ellisjones [00:15] "RNC 2016" (Justin Peters • Atavist Magazine • Jul 2016) [6:45] Balls Deep (VICELAND • 2016) [15:15] Motherboard [17:45] "Inside the Unregulated Chinese Hospitals That Make Men Impotent" (R.W. McMorrow • VICE Magazine • May 2016) [21:00] VICE (HBO • 2016) [21:00] VICE News [21:15] Dos & Don’ts Archive at VICE [22:00] "Is Vice Getting Nice?" (Carrie Battan • New York • Apr 2015) [25:45] The Prison Issue (VICE Magazine • 2015) [26:15] "How the Killing of a Trans Filipina Woman Ignited an International Incident" (Meredith Talusan • VICE Magazine • Feb 2015)

No matter what you are told when you are younger, careers are not always planned. Ellis Jones had worked at VICE for a long time before she became the editor-in-chief. This week we speak to her about the recent overhaul of the twenty-one-year-old magazine, drinking wine in the bathtub and her role at the ever-evolving media giant.

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his new book Rigging The Game: How Inequality is Reproduced in Everyday Life (Oxford University Press, 2014), Michael Schwalbe identifies the roots of inequality in the appearance of economic surplus as human societies transitioned from communal hunting and gathering societies to forms of sedentary agricultural production that enabled a few to live off the surplus produced by the many. This immanently historical and human development of a class-stratified society was subsequently reified by the exploiting few, and made to appear to others as being the result of divine or natural forces that could not be altered. Schwalbe then reveals the present-day forms of reification used by the wealthy (the American 1%) to justify their privilege to keep poor and working class from imagining a better world and the way to reach it. The book is rich with pedagogical insight and suggestions for classroom use. In this interview Schwalbe responded to questions about his educational philosophy and views on the 2016 presidential campaign. Jerry Lembcke can be reached at jlembcke@holycross.edu and Ellis Jones at ejones@holycross.edu.