Kate Eichhorn Livres

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 1970s to 1990s, 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

A concise introduction to content and the content industry, from the early internet to the Instagram egg.From the time we roll out of bed to check overnight updates to our last posts, likes, and views of the previous day, we're consuming and producing content. But what does the term “content” even mean? When did it become ubiquitous? And at what cost? In this volume in the MIT Press Essential Knowledge series, Kate Eichhorn offers a concise introduction to content and the content industry, examining the far-reaching effects content has on culture, politics, and labor in a digital age. Eichhorn traces the evolution of our current understanding of content from the early internet to the current social mediaverse. The quintessential example of content, she says, is the Instagram egg—an image that imparted no information or knowledge and circulated simply for the sake of circulation. Eichhorn explores what differentiates user-generated content from content produced by compensated (although often undercompensated) workers; examines how fields from art and literature to journalism and politics have weathered the rise of the content industry; and investigates the increasing importance of artists' “content capital”—the ability of artists, writers, and performers to produce content not about their work but about their status as artists.

Kate Eichhorn explores the intersections of culture and media in her role as an Assistant Professor at The New School. Her work delves into contemporary media practices and their impact on society, focusing on how cultural narratives are shaped and disseminated. Eichhorn's insights contribute to a deeper understanding of the media landscape and its implications for identity and community in modern contexts.

Exploring the intersection of forensic anthropology and popular culture, this collection delves into the experiences of a forensic anthropologist during the early 2000s. It combines parody and critical analysis of forensic narratives while responding to various natural and human disasters. The author, Eichhorn, skillfully navigates the boundaries between poetry and fiction, examining the emotional and intellectual aspects of knowledge creation. This work stands out for its edgy, passionate voice and innovative approach to the fieldnote genre.

In the 1990s, a generation of women born during the rise of the second wave feminist movement plotted a revolution. These young activists funneled their outrage and energy into creating music, and zines using salvaged audio equipment and stolen time on copy machines. By 2000, the cultural artifacts of this movement had started to migrate from basements and storage units to community and university archives, establishing new sites of storytelling and political activism. The Archival Turn in Feminism chronicles these important cultural artifacts and their collection, cataloging, preservation, and distribution. Cultural studies scholar Kate Eichhorn examines institutions such as the Sallie Bingham Center for Women’s History and Culture at Duke University, The Riot Grrrl Collection at New York University, and the Barnard Zine Library. She also profiles the archivists who have assembled these significant feminist collections. Eichhorn shows why young feminist activists, cultural producers, and scholars embraced the archive, and how they used it to stage political alliances across eras and generations. A volume in the American Literatures Initiative

Thanks to Facebook and Instagram, our younger selves have been captured and preserved online. But what happens, Kate Eichhorn asks, when we can't leave our most embarrassing moments behind? Rather than a childhood cut short by a loss of innocence, the real crisis of the digital age may be the specter of a childhood that can never be forgotten.