The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznan, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc , Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976--points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences--a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc , Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.

The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznań, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976—points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences—a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc, Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.

This inter-disciplinary and wide-ranging study unravels the social processes of decision-making at the interface of central banks and financial market participants, and thereby raises important questions about responsible central bank governance and its obligations to stakeholders in society. The book challenges commonly held assumptions on how central banking works and critically assesses unconventional monetary policy and its underlying theoretical tenets. Drawing from rich, multi-sited fieldwork and data collection, this research monograph offers an in-depth look into the financial market practices around the quantitative easing programmes of the European Central Bank and focuses on the uneasy role of modern central banks as active market participants. The author introduces concepts from social network theory and develops a novel method to study organisational networks in the context of financial markets. An analysis of the European Central Bank’s social, organisational and financial networks is sketched over the course of multiple chapters. The concluding chapters dive into documentary analysis and the extensive material from qualitative interviews with senior investment professionals about the strategies and adaptive processes around the lived experience of quantitative easing. The winner of the British Sociological Association’s prestigious Philip Abrams Memorial Prize, this book is a vital resource for social scientists researching organisations in financial markets, providing theory, concepts, empirical data and practical implications. It will be of interest to academics and graduate students in economics, sociology and management/organisation studies, as well as practitioners at central banks and in asset management.

Desperate to escape South Texas, Stephanie Elizondo Griest dreamed of becoming a foreign correspondent. So she headed to Russia looking for some excitement—commencing what would become a four-year, twelve-nation Communist bloc tour that shattered her preconceived notions of the “Evil Empire.” In Around the Bloc, Griest relates her experiences as a volunteer at a children’s shelter in Moscow, a propaganda polisher at the office of the Chinese Communist Party’s English-language mouthpiece in Beijing, and a belly dancer among the rumba queens of Havana. She falls in love with an ex-soldier who narrowly avoided radiation cleanup duties at Chernobyl, hangs out with Cuban hip-hop artists, and comes to difficult realizations about the meaning of democracy. is the absorbing story of a young journalist driven by a desire to witness the effects of Communism. Along the way, she learns the Russian mathematical equation for buying dinner-party vodka (one bottle per guest, plus an extra), stumbles upon Beijing’s underground gay scene, marches with 100,000 mothers demanding Elián González’s return to Cuba, and gains a new appreciation for the Mexican culture she left behind.

Since the publication of Herbert Spencer's Principles of Sociology in 1875, the use of social structure as a defining concept has produced a large body of creative speculations, insights, and intuitions about social life. However, writers in this tradition do not always provide the sorts of formal definitons and propositions that are the building blocks of modern social research. In its broad-ranging examination of the kind of data that form the basis for the systematic study of social structure, Research Methods in Social Network Analysis marks a significant methodological advance in network studies. As used in this volume, social structure refers to a bundle of intuitive natural language ideas and concepts about patterning in social relationships among people. In contrast, social networks is used to refer to a collection of precise analytic and methodological concepts and procedures that facilitate the collection of data and the systematic study of such patterning. Accordingly, the book's five sections are arranged to address analytical problems in a series of logically ordered stages or processes. The major contributors define the fundamental modes by which social structural phenomena are to be represented; how boundaries to a social structure are set; how the relations of a network are measured in terms of structure and content; the ways in which the relational structure of a network affects system actors; and how actors within a social network are clustered into cliques or groups. The chapters in the last section build on solutions to problems proposed in the previous sections. This highly unified approach to research design combined with a representative diversity of viewpoints makes Research Methods in Social Network Analysis a state-of-the-art volume.

This is the story of the International Rescue Committee (IRC), an organisation founded by democratic socialists in the 1930s to help the victims of Facism in the post-World War II years, and its connections with the US intelligence community.

While contributing to social inequality and environmental degradation, recent global transformations have also strengthened civil society groups opposing these trends. Yet, as they need to transform the existing social order from within, groups struggling for social justice face various strategic dilemmas. The articles in this volume examine these dilemmas and discuss possible solutions. Issues addressed include North-South disparities in what has been called "global civil society", and the precarious division of labor between local grassroots organizers and transnational coalition-builders.