Podcast appearances and mentions of william marotti

Episode 04 - Sam Timinsky interviews William Marotti, associate professor at UCLA, about why non-governmental groups resort to political violence. Listen to today's conversation, as Marotti defines "political violence" and explains why political groups - such as the Japanese New Left in the late 1960s - used violence as a strategy of political protest and activism.

Japanese artist Akasegawa Genpei was prosecuted in the 1960s for producing work that imitated money. His single-sided, monochrome prints of the 1,000 yen note generated a wide-ranging set of debates over the nature of obscenity, the definition of counterfeiting, and the freedom of artists amid significant transformations in Japanese state, society, and politics. In Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Duke University Press, 2013), William Marotti situates Akasegawa’s work within an ecology of the everyday in a wonderfully transdisciplinary study of avant-garde artistic production in postwar Japan. Marotti’s narrative combines close readings of literary, visual, and performative works with a careful political history of Occupation Japan, opening up a conversation about the politics of art in the global 1960s. Readers will find fascinating examples of experimental artistic production in these pages, in media ranging from collages to exhibitions to train trips to musical improvisations to waste materials of various sorts, and including the guillotines of the book’s title. Also included are explorations of the changing figure of the emperor in 1960s Japan and conversations about quarantine and scientific observation of the everyday world. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Japanese artist Akasegawa Genpei was prosecuted in the 1960s for producing work that imitated money. His single-sided, monochrome prints of the 1,000 yen note generated a wide-ranging set of debates over the nature of obscenity, the definition of counterfeiting, and the freedom of artists amid significant transformations in Japanese state,... Learn more about your ad choices. Visit megaphone.fm/adchoices

Japanese artist Akasegawa Genpei was prosecuted in the 1960s for producing work that imitated money. His single-sided, monochrome prints of the 1,000 yen note generated a wide-ranging set of debates over the nature of obscenity, the definition of counterfeiting, and the freedom of artists amid significant transformations in Japanese state, society, and politics. In Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Duke University Press, 2013), William Marotti situates Akasegawa’s work within an ecology of the everyday in a wonderfully transdisciplinary study of avant-garde artistic production in postwar Japan. Marotti’s narrative combines close readings of literary, visual, and performative works with a careful political history of Occupation Japan, opening up a conversation about the politics of art in the global 1960s. Readers will find fascinating examples of experimental artistic production in these pages, in media ranging from collages to exhibitions to train trips to musical improvisations to waste materials of various sorts, and including the guillotines of the book’s title. Also included are explorations of the changing figure of the emperor in 1960s Japan and conversations about quarantine and scientific observation of the everyday world. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Japanese artist Akasegawa Genpei was prosecuted in the 1960s for producing work that imitated money. His single-sided, monochrome prints of the 1,000 yen note generated a wide-ranging set of debates over the nature of obscenity, the definition of counterfeiting, and the freedom of artists amid significant transformations in Japanese state, society, and politics. In Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Duke University Press, 2013), William Marotti situates Akasegawa’s work within an ecology of the everyday in a wonderfully transdisciplinary study of avant-garde artistic production in postwar Japan. Marotti’s narrative combines close readings of literary, visual, and performative works with a careful political history of Occupation Japan, opening up a conversation about the politics of art in the global 1960s. Readers will find fascinating examples of experimental artistic production in these pages, in media ranging from collages to exhibitions to train trips to musical improvisations to waste materials of various sorts, and including the guillotines of the book’s title. Also included are explorations of the changing figure of the emperor in 1960s Japan and conversations about quarantine and scientific observation of the everyday world. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Japanese artist Akasegawa Genpei was prosecuted in the 1960s for producing work that imitated money. His single-sided, monochrome prints of the 1,000 yen note generated a wide-ranging set of debates over the nature of obscenity, the definition of counterfeiting, and the freedom of artists amid significant transformations in Japanese state,... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies