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Knowledge of how social movements move, diffuse, and expand collective action events is central to movement scholarship and activist practice. Our purpose is to extend sociological knowledge about how movements (sometimes) diffuse and amplify insurgent actions, that is, how movements move. We extend movement diffusion theory by drawing a conceptual analogue with military theory and practice applied to the case of the organized and highly disciplined nonviolent Nashville civil rights movement in the late 1950s and early 1960s. We emphasize emplacement in a base-mission extension model whereby a movement base is built in a community establishing a social movement school for inculcating discipline and performative training in cadre who engage in insurgent operations extended from that base to outlying events and campaigns. Our data are drawn from secondary sources and semi-structured interviews conducted with participants of the Nashville civil rights movement. The analytic strategy employs a variant of the “extended case method,” where extension is constituted by movement agents following paths from base to outlying campaigns or events. Evidence shows that the Nashville movement established an exemplary local movement base that led to important changes in that city but also spawned traveling movement cadre who moved movement actions in an extensive series of pathways linking the Nashville base to events and campaigns across the southern theater of the civil rights movement. We conclude with theoretical and practical implications.

“Immediate Gratuitousness” puts cryptocurrency and its sister industries into a history of performances of extravagance, daring, and waste. My assertion is that the people to read at this point in the development of crypto are not Mazzucato or Galbraith, Minsky or Perez (or Hayek and Mises), but Antonin Artaud, playwright of the theater of self-destruction and gratuitous gestures. This account of crypto situates it in a context of value produced through performance and ruinous waste, from burning a million British pounds on the Isle of Jura in 1994 to the production of proof-of-burn minting mechanisms, and explains how to make sense of our carnivalesque moment through the logic of the extravagantly destructive.