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Matthew Perkins

. 4 Bernstein, Basil, ‘On the Classification and Framing of Educational Knowledge’, in M. F. D. Young (editor) Knowledge and Control: New Directions for the Sociology of Education (London: Collier Macmillan), 1971, p. 56. 5 Lütticken, Sven, ‘Undead

in Perspectives on contemporary printmaking
Jared Pappas-Kelley

we find with the destruction of the art object. With death and destruction, we tempt continuity to project this deceased entity forward in the form of a ghost or double, to give it the utility or consistency of things. It is this fixity that the creation of the thing attempts, perhaps compensating for our own change and noticeable dissolution and divergence (the loss of a time in a flat at Waterloo or a lovely front room with moldings in east London), and likewise the loss of this moment that displaces. In this, there is something conceivably undead in the desire

in Solvent form

at the mercy of a rapacious Crown and a greedy laity. The second half of the sixteenth century would see Manchester College embroiled in fraud, embezzlement, and policies designed to make short-term gain out of its estates as Crown and layfolk found willing helpers within the College in the sordid business of asset stripping. The undead college, 1558–78 The Acts of Supremacy and Uniformity of 1559 formalised the change in England from Roman Catholicism to Protestantism, ushering in a change of

in Manchester Cathedral
Helen Hills

by activating a mortifying passion’. 29 ‘Discomfort is soothed (or silenced)’, she argues, ‘by crises and states of emergency in which a subject feels alive. But this “alive” is nothing other than “undeadness”, the petrifying grip of surplus excitation and agitation.’ 30 An unresting readiness to address crises with the parading of saints, an apparently endless rearming of the defence with new protectors were forms of this ‘undeadness’, comparable to the deadening frenzy of the Cold War in modern times. The claims of San Gennaro and his Treasury Chapel and

in The matter of miracles
Abigail Susik

, 2000). 201 Anthony Enns, ‘The Undead Author: Spiritualism, Technology and Authorship’, in The Ashgate Research Companion to Nineteenth-Century Spiritualism and the Occult , ed. Tatiana Kontou and Sarah A. Willburn (London: Routledge, 2016), 55–78. See also Alan Ramon Clinton, ‘Conservative Modernism and the Automatic Response’, in Mechanical Occult: Automatism, Modernism, and the Specter of Politics (New York: Peter Lang, 2004), 1–139. 202

in Surrealist sabotage and the war on work
Abstract only
The ideological bedrock of the postsocialist contemporary
Octavian Esanu

-yet-persisting mechanisms of neoliberalism, is often troped as “undead,” as something that has outlived its life. Contemporary art no longer seems to unfold historically, or be in any state of becoming. For artists and audiences too, the “end of art” is felt in more earthly terms as a disillusionment with the norms and institutions of contemporary art, believed to have been hijacked by speculative financial interests, or with its profound arbitrariness, subjectivism, nominalism, crises of genre, and inflations of the singularity of various conceptual and post-conceptual practices. Due to

in The postsocialist contemporary