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What were the consequences of this focus for Masdar City? Many of the people I met at Masdar City enjoyed contextualizing their projects in multiple scales at once — say, the immediate space of Masdar City in conjunction with the space of the planet or the universe.


They went back and forth between these scales, and this spatial imagination also had temporal equivalents. They could talk about the future, which comprised an undefined stretch of time, the same way they talked about the universe. Renewable energy and clean technology companies everywhere share this disposition. In one part of the book, I discuss how renewable energy and clean technology companies embody a messianic promise, seeking to liberate humanity from its guilt-ridden consciousness of the twentieth century.

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Perhaps the twentieth century was a time of decadent pleasures, but the future would be characterized by responsible consumption of resources under the tutelage of these companies. In this framework, the present mattered for its perpetual potential, prompting renewable energy and clean technology companies to refer to the abstract planetary-scale transformations they could one day trigger and implement.

In the book, I explore how people at Masdar City experienced this potential. How exactly do people feel potential, and feel that they can rely and act upon technical adjustments to confront climate change and energy scarcity? How is potential negotiated, realized, limited, or changed? I demonstrate that switching scales and talking about the universe and the future are methods for ensuring such potentiality. Did your views on climate change, and the strategies for addressing it, shift in the course of completing Spaceship in the Desert?

In what way? Yes, definitely. The project showed me how climate change requires humans to go beyond piecemeal solutions, such as the technical adjustments of Masdar City.

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These piecemeal solutions are crafted with the goal of ensuring economic growth. Given current climate change scenarios, we need to reevaluate these expectations, and imagine a future that does not prioritize growth. Humans need to drastically reduce their production and consumption, and think about altering the status quo, not preserving it. What future do you see for renewable energy and green living projects based on your research? What lessons or reflections do you hope readers will draw from Spaceship in the Desert?

In some ways, I would like readers to have a sense of the wide-range of innovations that respond to energy scarcity and global climate change, such as building an eco-city, replacing national currencies with energy-based currencies, or implementing personal rapid transit. It is great to see so many smart people working on significant environmental issues, especially in a context that is not known for breakthroughs in science and technology.

But at the same time, I would like readers to be aware that while these innovations are important, they are not necessarily solutions for the climate crisis. The only way human can mitigate that problem is by rethinking the main tenets of capitalism. Wiesner-Hanks and Urmi Engineer Willoughby is a guide for college and high school teachers who are teaching women, gender, and sexuality history for the first time, for experienced teachers who want to reinvigorate their courses, for those who are training future teachers to prepare their own syllabi, and for teachers who want to incorporate the subject into their world history classes.

Spirit on the Move will be out in April. Drawing on numerous examples from popular culture, Sarah Banet-Weiser examines the relationship between popular feminism and popular misogyny in her book, Empowered , as it plays out in advertising, online and multi-media platforms, and nonprofit and commercial campaigns, showing how feminism is often met with a backlash of harassment, assault, and institutional neglect.

Meridians , an interdisciplinary feminist journal, features scholarship and creative work by and about women of color in U. It engages the complexity of debates around feminism, race, and transnationalism in a dialogue across ethnic, national, and disciplinary boundaries. It first appeared in at the moment of a critical encounter—a head-on collision, one might say—of theories of difference primarily Continental and the politics of diversity primarily American.

It explores areas such as the conjunctions of gender, race, class, and sexuality with audiovisual culture; new histories and theories of film, television, video, and digital media; and politically engaged approaches to a range of media practices. We are sorry to learn of the death of feminist artist Carolee Schneemann, best known for her performance pieces Meat Joy and Interior Scroll.

I like the margins to slip on. It might or it might not. It might be a camera. It might be a microphone. It was a privilege to be her friend for some forty years, however tumultuous. I will miss our regular Sunday telephone calls, her brilliant mind, lively sense of humor, and intrepid devotion to art. We are excited to launch our new, completely redesigned website today. The improved site is the result of a huge amount of work by nearly everyone at the Press, and we hope you will find it easy to use.

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