Open to Disruption: Education and "either/and" Media Practice', interview with Gary Hall, Shaun Hides and Jonathan Shaw published in Journal of Media Practice, Volume 16, Issue 1, 2015. 

'Copyfight', Critical Keywords for the Digital Humanities (Lüneburg: Centre for Digital Cultures, Leuphana University, 2014).

Open Education: A Study in Disruption (London: Rowman and Littlefield International, 2014) - book co-authored by Coventry’s Open Media Group and Mute Publishing. (Open access version available here.)

Open Access

Most of Gary's work is freely available to read and download either here, in the OA archive CSeARCH or in Coventry University's online repository CURVE here

'The Political Nature of the Book: On Artists' Books and Radical Open Access' (co-authored with Janneke Adema), Materialities of the Text issue of New Formations, Number 78, Summer, 2013. 

performative project Janneke Adema has put together, based on our ‘The Political Nature of the Book: On Artists’ Books and Radical Open Access’ article for New Formations.

Forget the Book: Writing in the Age of Digital Publishing, discussion with Doug Sery, Sean Cubitt and Sarah Kember, CREATe at Goldsmiths, University of London, 25 May, 2013.

Lecture on 'Radical open access in the humanities: or, will the future editors of Žižek have to publish his tweets?' at Columbia University, New York, October 18, 2010. 

Piracy Theory

Talk on 'Piracy and Open Access', The Post-Digital Scholar conference, Leuphana University, Germany, November 12-14, 2014. 

'Pirate Radical Philosophy', Radical Philosophy, 173, May/June, 2012.

Special issue of Culture Machine on Pirate Philosophy (2011)

Lecture on Pirate Philosophy, Coventry University, September 29, 2008.

Disrupting the Humanities

Series of events looking at research and scholarship in a 'posthumanities' context, organised by the Centre for Disruptive Media, and featuring Mark Amerika, Søren Pold, Monika Bakke, Iris van der Tuin and Johanna Drucker:

Disrupting the Scholarly Establishment: How to Create Affirmative and Alternative Institutions (March 2014)

Aesthetics of the Humanities (June 2014)

Radical Methodologies for the Posthumanities (March 2015)

Liquid, Living Books

Force of Binding: On Liquid, Living Books (Version 2.0: Mark Amerika Mix)’,, companion website to Mark Amerika, remixthebook (Minneapolis: University of Minnesota Press, 2011).

Living Books About Life, a series of twenty five open access books, funded by the Joint Information Systems Committee (JISC) and published by Open Humanities Press (OHP)


Digitize Me, Visualize Me, Search Me (Ann Arbor: Open Humanities Press - an imprint of MPublishing, University of Michigan, 2011)

Liquid Books, a series of open access books, published by OHP, that users can rewrite, remix, reformat, reversion, reuse, reinvent and republish

New Cultural Studies: The Liquid Theory Reader (Ann Arbor: Open Humanities Press, 2009)

Fluid notes on liquid books in Timothy W. Luke and Jeremy W. Hunsinger eds, Putting Knowledge to Work and Letting Information Play: The Center for Digital Discourse and CultureCenter for Digital Discourse and Culture (CDDC) @ Virginia Tech.

Culture Machine

Culture Machine Live - series of podcasts considering a range of issues including the digital humanities, internet politics, the future of cultural studies, cultural theory and philosophy. Interviewees and speakers include Johanna Drucker, N. Katherine Hayles, Chantal Mouffe, Geert Lovink, Alan Liu, Ted Striphas, and Gayatri Chakravorty Spivak.


Capital at the Brink - new book from OHP

A new open access collection, Capital at the Brink: Overcoming the Destructive Legacies of Neoliberalism, is now available open access from Open Humanities Press, with essays by Paul A. Passavant, Noah De Lissovoy, Robert P. Marzec, Jennifer Wingard, Zahi Zalloua, Jodi Dean, Andrew Baerg, Jeffrey R. Di Leo, Christopher Breu and Uppinder Mehan.

Capital at the Brink reveals the pervasiveness, destructiveness, and dominance of neoliberalism within American society and culture. The contributors to this collection also offer points of resistance to an ideology wherein, to borrow Henry Giroux’s comment, “everything either is for sale or is plundered for profit.” The first step in fighting neoliberalism is to make it visible. By discussing various inroads that it has made into political, popular, and literary culture, Capital at the Brink is taking this first step and joining a global resistance that works against neoliberalism by revealing the variety of ways in which it dominates and destroys various dimensions of our social and cultural life.


Introduction: The Wrath of Capital — Jeffrey R. Di Leo and Uppinder Mehan

I. Race, Violence, and Politics

1. Neoliberalism and Violent Appearances — Paul A. Passavant

2. The Turn to Punishment: Racism, Domination, and the Neoliberal Era — Noah De Lissovoy

3. Neoliberalism, Environmentality, and the Specter of Sajinda Khan — Robert P. Marzec

4. Rhetorical Assemblages: Scales of Neoliberal Ideology — Jennifer Wingard

5. Neoliberalism, Autoimmunity and Democracy: Derrida and the Neoliberal Ethos — Zahi Zalloua

II. Literature, Culture, and the Self

6. Complexity as Capture: Neoliberalism and the Loop of Drive — Jodi Dean

7. Neoliberalism, Risk, and Uncertainty in the Video Game — Andrew Baerg

8. Neoliberalism in Publishing: A Prolegomenon — Jeffrey R. Di Leo

9. The Post-Political Turn: Theory in the Neoliberal Academy — Christopher Breu

10. Neoliberalism, Post-Scarcity, and the Entrepreneurial Self — Uppinder Mehan


Viva Culture Machine!: Latin American Mediations

We are pleased to announce the latest issue of the open access journal Culture Machine <> titled VIVA CULTURE MACHINE!: LATIN AMERICAN MEDIATIONS, edited by Gabriela Méndez Cota. For more details about the issue and the journal please see below.



edited by Gabriela Méndez Cota

In her 2013 book The Posthuman, Rosi Braidotti complains about critical thought ‘after the great explosion of theoretical creativity of the 1970s and 1980s’: it was as if ‘we had entered a zombified landscape of repetition without difference’, she writes. And no doubt poststructuralist theory did in certain hands become another orthodoxy. Yet given the degree of emphasis currently being placed on monistic, realist, object-oriented and materialist ontologies in what is perceived as the ‘cutting-edge’ critical thought of today, it is hard not to wonder: are we in danger of embarking on another journey into theoretical orthodoxy?

Sharing the frustration of Braidotti and others with the decline of so much post-Marxism, deconstruction and psychoanalysis into mere repetition without difference, Culture Machine has over the years published essays and issues on various aspects of monism, realism and materialism. Nevertheless, in an effort to ensure the journal avoids succumbing to a zombified future by doing just more of the same, we have decided to celebrate Culture Machine’s 15th anniversary by transferring much of its editorial oversight to scholars located in Mexico. By placing this bet on Mexico, we are endeavouring to force the Culture Machine journal into inventing a different, unorthodox future for itself that is at once both singular and unpredictable.

As a way of beginning the process of reinvention, for this 15th anniversary issue of the journal we have invited a number of scholars, writers, activists and artists from Latin America to provide us with a series of contaminating mediations of Culture Machine and its history. The issue is therefore designed to constitute something of a critical retrospective, both offering new contributions and inviting the readers to revisit some of the earlier work that was published in Culture Machine. This is only a first step, however. The intention for future issues is to invite increasing numbers of non-Anglo collaborators to participate in Culture Machine, in English and in Spanish (and hopefully in other languages too later on), and in this way join those in the English-speaking world in helping to generate a more distributed, decentred, multi-polar academic gift economy for the production, publication and dissemination of contemporary theory.


* Culture Machine Editorial Collective / Viva Culture Machine!

* Gabriela Méndez Cota / Fifteen Years: a Textual Celebration

* Benjamín Mayer Foulkes interviewed by Gabriela Méndez Cota / Towards the Post-University: Experimenting with Psychoanalysis and Institutions

* Stefania Haritou / Creativity in Practice

* Emilia Ismael Simental / Re: Recordings

* Nestor García Canclini and Maritza Urteaga interviewed by Emilia Ismael Simental / The Hyper-affective Turn: Thinking the Social in the Digital Age

* Euridice Cabañes and María Rubio / Arsgames: A Political Take on Videogames and Social Networking Platforms

* Benjamín Moreno interviewed by Juan Pablo Anaya / The Electronic Literature of Benjamín Moreno: Affect and Sense Outside the Conventions of the Literary

* Alberto López Cuenca / Writing Errancy: Outcasts, Capitalism and Mobility

* Beatriz Miranda / Traveling through Remembrance as Praxis with Disability Baggage

* Vivian Abenshushan interviewed by Gabriela Méndez Cota / The No-Work Paradox

* Etelvina Bernal Méndez / The Flood Is Elsewhere

* Néstor Braunstein / Economics (and) the Politics of Attention

* Francisco Vergara Silva / Universal Bio-cosmopolitics, Or the Perspectivism of Canine Life

* Gabriela Méndez Cota / Digital Humanities: Whose Changes Do You Want to Save?


Technographies: new book series from Open Humanities Press

In celebration of Open Access Week, we are pleased to announce a new open access book series, Technographies, edited by Steven Connor, David Trotter and James Purdon.

According to Aristotle, the modes taken by the ‘art of representation’ (mimesis) differ in ‘means’, ‘object’, and ‘manner’. Some translations offer ‘medium’ instead of ‘means’, as though Aristotle had seen McLuhan coming from a very long way off. Others have argued that the term poses the question ‘in what?’: in what (language, genre, form, etc.) has expression taken place? ‘Through what?’ might instead be the question for a series which aims to explore the cultural (written) history of material technologies.

Technographies aims to answer the question ‘through what?’ in a variety of ways, with varying degrees of literalness. The term itself seeks to recuperate some of the strangeness that has been lost in the course of the long naturalization of ‘technology’. Originally a genre of writing — a treatise on a practical art or craft — a ‘technology’ soon came to denote the end product of such arts and crafts, and eventually became associated with the machinery or equipment used in production. Today, we tend to assume that a ‘technology’ is a machine, a system, a piece of kit: a term for a discourse or a way of thinking has over the centuries been transformed into a term for an object, or a set of objects.

By contrast, the term ‘technography’ came into use during (and possibly in reaction to) the late-nineteenth-century turn from words to things. A technography is a description of technologies and their application with primary regard to social context. Technography, itself technologically mediated like all forms of writing, is a reflection upon the varying degrees to which all technologies have in some fashion been written into being. It examines the crucial role writing has played, not just in the description of technological objects and their functions, but in the inscription of technologies within social and cultural life.

Technographies aims to encourage investigation of a wide variety of writing ‘about’ technology. It is not committed to the furtherance of any single methodology, nor is it period-specific; instead contributions are sought that will develop new, ambitious and scholarly approaches to technological mediation using the tools of literary criticism, theoretical elaboration, rhetoric, poetics, gender studies and queer theory, material culture, media archaeology, the history of science, and similar disciplines.

How was it that technology and writing came to inform each other so extensively that today there is only information? Technographies seeks to answer that question by putting the emphasis on writing as an answer to the large question of ‘through what?’. Writing about technographies in history, our contributors will themselves write technographically.

To contribute to the series, please contact Steven ConnorDavid Trotter or James Purdon

Advisory Board

  • Emmanuelle André (Paris Diderot)
  • Edward Dimendberg (University of California, Irvine)
  • Sebastian Gießmann (University of Siegen)
  • John Guillory (NYU)
  • Jondi Keane (Deakin University, Melbourne)
  • Tanya Krzywinska (Falmouth University)
  • Charlotte Sleigh (University of Kent)
  • Susan Merrill Squier (Penn State University)
  • Sherry Turkle (MIT)
  • Gregory L. Ulmer (University of Florida)

Open Education: Condition Critical

The Centre for Disruptive Media presents: 

Open Education: Condition Critical

A panel exploring opportunities to experiment critically and creatively with different ideas of what the university and education can be.

Thursday November 20th 4:30-6:30pm

Coventry University, Disruptive Media Learning Lab, 3rd floor Frederick Lanchester Library


Sean Dockray (The Public School), Richard Hall (University of Leicester), Shaun Hides (Coventry University/Disruptive Media Learning Lab), Sharon Irish (University of Illinois/FemTechNet), Pauline van Mourik Broekman (Mute)

Entrance is free

Please register at:

What for decades could only be dreamt of is now almost within reach: the widespread provision of free online education, regardless of a student’s geographic location, financial status or ability to access conventional institutions of learning. Yet for all the hype-cycle that has been entered into over MOOCs, many experiments with Open Education (OE) do not appear to be designed to challenge the becoming business of the university or alter Higher Education in any fundamental way. If anything, they seem more likely to lead to a two-tier system, in which those who can’t afford to pay (so much) to attend a traditional university, or belong to those groups who prefer not to move away from home (e.g. lower-income families), have to make do with a poor, online, second-rate alternative education produced by a global corporation.

Open Education: Condition Critical will thus examine some of the opportunities that exist for experimenting with very different ideas of what the university and education can be in the 21st century. In doing so, rather than focusing on the 2012 batch of extremely publicity-savvy xMOOCs (Edx, Udacity, FutureLearn etc.), it will draw attention to a range of more radical developments in the Open Education arena. They include The Public School, FemTechNet’s DOCCs (Distributed Open Collaborative Courses), the self-organised ‘free universities’ associated with the Occupy, anti-austerity and student protests, and even so-called ‘pirate’ libraries such as and

Open Education: Condition Critical has been organised to mark the publication of Open Education: A Study in Disruption (London: Rowman and Littlefield International, 2014), co-authored by Coventry University’s Open Media Group and Mute Publishing as a critical experiment with both collaborative, processual writing and concise, medium-length forms of shared attention.



Disruptive Media Learning Lab

The Disruptive Media Learning Lab (DMLL) at Coventry University, a new innovative teaching, learning and study space, is a cross-university experimental unit comprising of academics, learning technologists, subject librarians, educational developers and researchers. The Lab is based in the heart of the Uiversity’s campus in a newly refurbished space on the top floor of the Frederick Lanchester Library, uniquely designed to promote open dialogues, collaborative work and exploratory play for all interested in defining the 21st century university.

Responding to the disruption of connected media technologies the Lab will develop radically new approaches to teaching and learning. It will provide the support, expertise and resources needed to enable projects to experiment with new pedagogies, new business models and technologies.


For more on disruptive learning, see here.

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