LEADER 03699nam 2200553 450 001 9910466447903321 005 20200520144314.0 010 $a0-262-33433-X 035 $a(CKB)3710000000865459 035 $a(MiAaPQ)EBC4694116 035 $a(OCoLC)958984025$z(OCoLC)959040759$z(OCoLC)959274335$z(OCoLC)959592271$z(OCoLC)959952128$z(OCoLC)960086747$z(OCoLC)960448608 035 $a(OCoLC-P)958984025 035 $a(MaCbMITP)10057 035 $a(Au-PeEL)EBL4694116 035 $a(CaPaEBR)ebr11269661 035 $a(CaONFJC)MIL957166 035 $a(OCoLC)959150362 035 $a(EXLCZ)993710000000865459 100 $a20161006h20162016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aAdjusted margin $exerography, art, and activism in the late twentieth century /$fKate Eichhorn 210 1$aCambridge, Massachusetts ;$aLondon, [England] :$cThe MIT Press,$d2016. 210 4$dİ2016 215 $a1 online resource (216 pages) 311 $a0-262-03396-8 320 $aIncludes bibliographical references and index. 330 $aHow xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or "Xerox machine," became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970's to 1990's, arguing that xerography--including photocopied posters, mail art, and zines--changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists. 606 $aXerography$xSocial aspects 606 $aPhotocopying$xSocial aspects 606 $aStudent movements$xHistory$y21st century 606 $aSocial movements$xHistory$y21st century 608 $aElectronic books. 615 0$aXerography$xSocial aspects. 615 0$aPhotocopying$xSocial aspects. 615 0$aStudent movements$xHistory 615 0$aSocial movements$xHistory 676 $a686.4/42 700 $aEichhorn$b Kate$f1971-$0968339 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910466447903321 996 $aAdjusted margin$92199304 997 $aUNINA