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This paper analyses the working practices of several feminist creative and cultural enterprises in London (which I term 'feminist CCIs'). In particular, it shows how pandemic precarity has driven feminist CCIs towards more entrepreneurial, self-promotional, and self-branding practices in order to sustain their work. Drawing on both digital ethnographic material and interviews with 12 workers in feminist CCIs conducted online between 2020 and 2022, the article provides insights into the landscape and contemporary realities of arts and cultural funding within these fields. It considers how decades of austerity measures and cuts have forced some feminist CCIs to operate independently outside of the UK public sector funding models. Survival tactics include adopting corporate funding models, subscription and membership schemes, platformisation and digitalisation. Focusing on funding, money and subjectivity, it unpacks the contradictions these imperatives bring to feminist politics: tensions about which some feminist CCI workers themselves are aware of and critical of. In the process, this paper considers how activism, feminism, entrepreneurialism, and precarity are fused together and negotiated in this form of 'freelance feminism'. [ABSTRACT FROM AUTHOR]

Heavy policing remains 'a chronic feature of public order operations' (Waddington PAJ (1994) Liberty and Order: Public Order Policing in a Capital City. London: UCL Press), both in the form of officer numbers and in the proportionality of tactics employed. This paper argues that at the heart of this lies the assessment of threat and risk and how police commanders perceive, predict and manage the potential for disorder. It reports on the findings of a mixed-methods study, combining data from observations of three separate public order events, with in-depth interviews of seven high-level, police public order commanders from five different UK police forces. Analysis suggests that commanders construe 'risk' in very broad terms, seeking to mitigate not only physical harm but also abstract consequences such as reputational damage and loss of public confidence. Structured models central to the task of threat and risk assessment give the appearance of a quantitative and objective process. However, the actual appraisal of threat and risk, both before and during public order operations, is almost entirely heuristic. Furthermore, the analysis suggests commanders' decision-making is acutely affected by the pressure of accountability. It is argued that at a tacit level, their threat and risk assessments reflect this and a direct consequence is the deployment of additional police resources. At a time when the police service is under intense pressure to do more with less, this paper discusses how refining the assessment of threat and risk may prove to be a critical factor in the delivery of cost effective and proportionate public order policing. [ABSTRACT FROM AUTHOR]

This article examines three films made during the 1950s by Elwyn James Anthony at the psychotic clinic for children at the Maudsley Hospital that marked an important transition in the purpose and practice of visual documentation in a clinical setting: film as a research tool was transitioning from the recording of external signs as indicators of internal subjective states, to the capture of the visual flow of communication between subjects. It is a shift that had a particular impact on the emergent classification of autism, a modality not yet properly separated from the broader term of psychosis, as a non-relational condition whose visual capture demonstrated a void of inter-human communicational exchange. Film was significant not only as a recording apparatus, but as a method of cutting and crafting sequences of movements into brief repetitive motifs. The filmed behaviour of children remained opaque to interpretation, a 'finding' that facilitated the modelling of an emergent autism as subjects who were isolated, alienated and automaton-like, inhabiting a separate temporality. The article situates this 'second', affectless autism, within a broader context of post-war research into gestures as a language of the body, developed largely through an intellectual network of German émigré psychoanalysts who had fled to the US and UK in the 1930s. [ABSTRACT FROM AUTHOR]