start-you better run for office, you better start organizing and i think we are in for the fight of our lives. >> yeah. >> which we are going to win it. we've been through some dark times before and america has come out as a stronger, better nation, how is that for a cheery note. [laughter] [applause] >> thank you, jon. >> thank you. >> jon is happy to sign books. we have them at the front counter. thank you again for being here and have a wonderful evening. >> hey, man. [laughter]

[inaudible conversations] >> today in-depth will feature live conversation with pulitzer prize author, during live discussion in coal gables, florida. >> in 1986i moved to movement and been there ever since but it's really a good place, if you want to be a humor writer. [laughter] >> excellent place to go. anyway -- >> published over 30 books including dave barry's greatest hits, best date ever. a florida man defends his homeland.

watch in-depth live today from noon to 3:00 p.m. eastern on book tv on c-span2. >> i wrote this book in the haze of depression from occupy, not that occupy was depressing, i found it invigorating. this was written at the time. at the time in 2011 me and other folks put together living form and it was looking at socially engaged art or politically engaged art from around the world, particularly with artists blurring the space between art and life. and while working on that show i was very aware of a different show that i wasn't doing and the show that i was doing was people trying to make the world a better place but i knew there was another show of people trying to get their own in the

world using culture and as a bigger show, i thought it was the b side, the exhibition was about artists and activists using culture to kind of get things done in the world but, of course, some would say, aren't are you aware that the tea party uses the same things, aren't you aware that in fact, marketers like red bull are basically doing in the city all of the time. my answer to all of that is, yeah, i am quite aware of that and it's actually very interesting and maybe that's something we should dig into and that's kind of this book in a sense but we can get more into it, but i was really interested in a few things, one was i want on an art level. this isn't just for art, this book, i want to put art in conversation with larger cultural phenomena because certainly there are worlds in many respects that like to talk about itself as though we are still in 1922 or something that

modernism is taking off and our language of the arts is still in the sense removed from the other world, but i would say most of the left has been radically incorporated into markets and public relations, into branding strategies and the way cities are shaped. just to say, the production of how we feel is a very powerful force in the way power expresses itself, which we know. which we know. but what was interesting as i started working on this book is, the difference often between art and these larger cultural forces is scale, profound shift in scales, mega shifts in scales. kind of money that we don't talk about unless, of course, you're a rich artist and you're sort of talking like that. in general the one individual

painting, the way that artists think of themselves, it's not the way power expresses itself. they think of multiple images and impressions, optics, so one of the tasks in the book was to put our interlanguage with that. how do we talk about the one impression versus the image that makes thousands of impressions? >> you can watch this and other programs online at booktv.org. >> mitchell kaplan, where are we? >> we are in beautiful coral gables. we welcome you to our store. no, they don't. what we did was this building was built in the 20's and for ra