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. It is the most boiled-down recipe for a public library, and very different from the quiet, neo-classical conventional civic model most people are more familiar with. These spac- es should be noisy and temporary, and make unusual literatures available to be read and responded to on “merely civil” terms. Hate Library is a public reference resource in this mold and has five com- ponents with a very particular choreography. In a ring in the middle are twelve blue orchestra stands, spaced according to the design of the EU flag with a diameter calculated according

to present a convincing business model, and that many of the professional skills involved – e.g. choreography, dancing, drawing, editing, weaving, doll-making – simply are not perceived as leading to profitable busi- nesses. While this may be changing in some places under the influence of success stories of one kind or another, many skills and professions re- lated to the creative economy are not even recognized as business cate- gories in legal terms. Consequently, in many countries, small creative industries do not have access to credit facilities or to


-suited to creating. Lastly, Nick Thurston loops this book project back to its starting point, an artwork called Hate Library (2017). His chapter connects the importance of sociable settings for reading, like libraries, with the value of pausing fluid streams of online language in print. Draw- ing on documentary poetry, file-sharing practices and the choreography of installation art, he outlines some of the roles that the arts might play when societies are faced by fundamental questions about who is responsible for the consequences of public expressions. 18 Stephen

, with a nose, mouth, eyes and brow all brought into play. I have a certain agility with my lips, a way of twisting my spine, raising my head, shutting my eyes and being struck dumb as though I had heard an angelic, divine voice come down from heaven. That’s what gets them.” (Diderot, 1966, pp. 73-74) DEPENDENCY, CORRUPTION, AND AESTHETICS | 185 This rather comic passage describes how the servant must have a feeling not on- ly for the narcissism of his master or mistress, but also for the timing, dramatic structure, choreography, and effects of his own

also instantiate embodied argumentative stances. The body politics of national leaders  – Russian President Vladimir Putin’s bare back horse riding or his judo practice, for ex- ample – are a notable part of how authority is symbolically projected through bodily choreography. In a different way, crowds and mobil- ised groups generate a corporeal density that is hard to ignore and generates its own, sometimes threatening, atmospheres (see Davies, 2018:  3–8). Bodies bared, self-immolating, blocking, and so on: even without speech bodies themselves may function

surveillance at the same time that everyone is in the service of the surveillance industry. Even the control room where the CCTV footage is monitored and does not escape observation.71 Such all-pervasive panoptic structures produce a similarly panoptic atmosphere wherein everyone becomes implicated in the elabo- rate choreography of surveillance, with mall management observing secu- rity personnel and employees; security guards observing employees and shoppers; employees observing contractors and shoppers; and shoppers observing each other and simultaneously gazing