In episode nine of Faculty Spotlight, hosts Lauren K. Wolfe and Mark DeLucas sit down with Jenny Logan, Associate faculty (legal studies) and plaintiff's attorney, at the District Court level, in the case of Johnson v. Grant's Pass, on which the Supreme Court recently ruled. Speaking from London, Jenny discusses the origins of the case—in which a class of unhoused people sued the city of Grants Pass, Oregon, for imposing criminal penalties on people sleeping in public parks—and explains the reasoning behind the Supreme Court's 6-3 ruling upholding the constitutionality of Grants Pass's anti-homeless statutes. What were the stakes of Johnson v. Grant's Pass; and why, as critics argue, does the Court's ruling effectively enable the criminalization of homelessness? Why have cities responded to homelessness with largely punitive measures? And how can the case of Grant's Pass, whose only shelter is a religious mission, be situated within the wider history of the evangelical-neoliberal alliance to undermine the New Deal social contract and welfare state? What is the future of "poverty governance" in the United States?

In this shortcast edition of the Podcast for Social Research, recorded live at BISR Central, BISR’s Rebecca Ariel Porte and Isi Litke discuss Stephen Frears's 1985 classic of queer cinema, My Beautiful Laundrette. Conversation ranges over the film's Thatcherite backdrop; its depiction of queer, and cross-racial, love; and its inimitable mix of gritty social realism and dreamlike sensuality. What's unique, in the queer cinematic canon, about a film made just before the AIDS crisis emerged in British public consciousness—that is, just prior to the inceasing identification of queerness with disease? How does it weave elements of the fairy tale into its story of cross-class, cross-racial love? And how does the film, with its "qualified utopian hope," contrast with later, more pessimistic classics of the New Queer Cinema? Why, in a film set in a laundromat, is it a source of optimism that some things don't stay clean?

Practical Criticism is back with its first episode of 2024—on Beyoncé’s Cowboy Carter. In it, Rebecca Ariel Porte plays the opening track of the album, “American Requiem,” for Ajay Singh Chaudhary, who, as usual, doesn’t know what the object will be. Their conversation then commences with a question: Beyoncé is far from the first to undertake the ambitious task of deconstructing country music’s many musical debts—but does she actually succeed in doing so? Along the way, they discuss the history of Black country music (and listen to Linda Martell), the convergence of aesthetic and commodity forms (is the album so slick as to slide over into parody?), conflictual aspirations to iconicity and iconoclasm, and the courage of conviction it takes to betray an older version of one’s own aesthetic commitments.

In episode 11 of (Pop) Cultural Marxism, Ajay and Isi examine Alex Garland’s Civil War (2024). Kicking off with a handful of pop culture news items—including the Met Gala, the death of Steve Albini, A24’s Stop Making Sense tribute album, and Apple's alarming iPad Pro commercial—the conversation turns to Garland’s provocative and uneven drama about a group of photojournalists traveling through a war-torn United States. Ajay and Isi discuss the perils of directors commenting on their own works, the film’s inadvertent critique of combat photographers, “Portland Maoists,” Garland’s allusions to significant 20th century photojournalists (Robert Capa, Lee Miller, Gerda Taro, the Bang Bang Club), reactionary aesthetics, and the vernacular of American violence. Central to the conversation are perennial questions about the mediation of war through film and photography; the circulation and reception of images of violence; and how to make a film about war that neither glamorizes nor sentimentalizes it.

Have 21st century technologies—from smartphones to medical devices to the commonplace use of artificial intelligence—made cyborgs of us all? In this episode of the Podcast for Social Research, recorded live at BISR Central, BISR faculty Rebecca Ariel Porte sits down with fellow faculty Danya Glabau and co-author Laura Forlano to parse what the latter, in their recent book Cyborg (MIT Press), have termed “critical cyborg literacy”: a lens through which to critically examine the constitutive role technology plays in the ways we think, behave, know, and interact. Glabau and Forlano begin with a synthetic overview of the history and affordances of thinking with the figure of the cyborg, after which the three discuss, among other things, the hidden human labor behind apparently automated systems, failure and the glitch, feminist scholarship as collaborative process, and the cyborg as, beyond its technicity, a social, political, and aesthetic project.

In episode 78 of the Podcast for Social Research, BISR's Jude Webre (who also teaches at Columbia University and NYU), Sami Al-Daghistani (Columbia and the Norwegian School of Theology, Religion, and Society), and Robyn Marasco and Anthony Alessandrini (CUNY) offer faculty perspectives on the Gaza Solidarity Encampments that have arisen on college campuses nationwide and globally. What happened and what is happening on the ground in NYC and internationally? How do faculty understand their position relative to protesting students, on the one hand, and mega-institutions like Columbia University and City University of New York, on the other? What are the discussions that are happening among faculty—including faculty with different levels of employment precarity and security? How can we understand the Gaza Solidarity Encampments and the faculty response within the context of the wider crisis in academia? Can the student protests inaugurate, in turn, a new movement for faculty empowerment? What is the meaning of solidarity?

In episode eight of Faculty Spotlight, hosts Mark DeLucas and Lauren K. Wolfe sit down with Danielle Drori, Associate faculty member (in literature and Judaic studies), Director of Development, and psychoanalyst-in-training. Recently returned from a long-delayed trip to her native Tel-Aviv, Drori discusses the state of Israeli society in the shadow of the war in Gaza, her own vexed relation to her country of birth (including, how it shaped her scholarly interests), and the unexpected resonances of Erich Auerbach's Mimesis in a time of mass destruction. What's humane in Auerbach's historicist method? Is Auerbach's documentation of "civilization" also a lamentation? What sorts of perspectives are afforded by exile?

In episode 77 of the Podcast for Social Research, recorded live at Goethe-Institut Chicago, BISR faculty and Chicago Coordinator Audrey Nicolaïdes sat down with special guest, art historian Annie Bourneuf, to discuss revolution and counterrevolution, in text and dialectical image. Annie begins with a reexamination of Walter Benjamin’s aesthetic and philosophical project in light of a surprising discovery: Paul Klee’s famous Angelus Novus—a print in Benjamin’s own collection—is in fact a piece of collage; Klee’s image is glued atop a sixteenth-century engraving of a portrait of Martin Luther. What did such an image mean to Klee, in the context of counterrevolutionary Munich in the 1920s? And how does this citation bear on Benjamin’s attachment to the image and the inspiration he drew from it? Then, Audrey walks us through the schisms that put socialist movements in pre- and interwar Europe on their back foot—and the world-historical consequences these schisms entailed. What were the fundamental assumptions—fundamentally in error—about the progressive nature of historical processes that Benjamin’s “Theses on the Philosophy of History” is an attempt to redress? Along the way, the two touch on the centrality of concepts like ephemerality and contemporaneity in Benjamin’s work, parody and citation, the revolutionary potential of “hatred for the oppressor,” and more.

This episode of the podcast was produced by Ryan Lentini.