Author Archives: Nina Power

1991 you 1992 Time: 10.00pm What a pisser. I came on tonight and I’ve got Sports Day tomorrow. It’s not fair. J + me were flirting with each other all day. He kept putting his hand up my skirt,* typical! I found out that PW fancies me + he dumped J today. BF asked meContinue reading “July 2nd: Diaries 1991-2000”

[A version of this text was published in Socialist Register 2018 ed. Leo Panitch and Greg Albo] DIGITAL DEMOCRACY? NINA POWER We stand on the cusp of enormous change, both politically and technologically, and the two can hardly be separated at this point. To speak from the situation in the United Kingdom at the moment isContinue reading “Digital Democracy?”

[A version of this text appeared in No Regrets: Writings on Scott Walker, edited by Rob Young, London: The Wire, 2012] Black Sheep Boy Nina Power Scott (1967) Scott 2 (1968) What is the opposite of love? Cowardice? Loneliness? Hate? Should music ‘about’ love and its opposite (whatever that is) be lush, excessive, all-consuming, or shouldContinue reading “Black Sheep Boy: Scott (1967), Scott 2 (1968)”

A piece on themes of sickness in contemporary art and theory for ArtReview.

  For The Guardian.  

[Note: this story was written for and read out at the launch event of Objects of Feminism, South London Gallery, Wednesday, 8 November 2017] In 1983, Patricia Highsmith wrote a text called Plotting and Writing Suspense Fiction. I decided to take up Highsmith’s guidelines from this text and very loosely apply them to the text I wroteContinue reading “Towards a Suspense Short Story of the Void”

Mark on a seaside trip, c. mid-2000s There is a line in Byung-Chul Han’s book The Burnout Society that makes me think of you: ‘the violence of positivity does not deprive, it saturates; it does not exclude, it exhausts.’ You were the person who diagnosed this condition better than anyone else, always. You lived theContinue reading “In Memoriam Mark Fisher, January 13th”

Available here.

[Piece for The Wire’s issue 352 on ‘Words and Music’, June 2013]. Nina Power Once you start listening you can’t stop hearing it. The voice – female, or female-sounding at least, pre-recorded ‘real’ voices or mechanised tones, or, often, a weird cut-up mixture of both, dominates the sonic landscape. From the supermarket checkout machines withContinue reading “‘Once You Start Listening You Can’t Stop Hearing It’”

[A version of this text was published in The Acoustic City, edited by Matthew Gandy and BJ Nilsen, JOVIS Publishers, 2014) Four questions to begin with: What is the pitch of the neoliberal city? How does the pitch of the city construct images of and for the humanity that travels through it? How does gender relate to controlContinue reading “Soft Coercion, the City and the Recorded Female Voice”