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Rather than studying social structure and organizations as separate things, this chapter analyzes how people organize social structure. Whereas the “old structuralism” is built on a reified conception of social structure that defines all significant social elements a priori, “new structuralism” emphasizes the processes by which agents and structures are transformed. Instead of the category-centred old structuralism, we adopt an interaction-based approach to explain the creation of a new kind of “radical” science organization called Science for the People. We explain how, though a series of dynamic public performances, Science for the People disrupted the very boundaries between science and politics.

Much scholarship has looked at how radical politics and its symbolism are framed and distorted by the mass media, while less attention has been devoted to how the symbolic imagery of violence and death is used in activists’ self-representations. This chapter provides one such alternative angle by probing how “visual protest materials” are creatively used in activists’ own videos to pass on stories of communion and contestation.It interrogates how activist video practices mirror the continuum between physical places and mediated spaces in political activism by analyzing a thread of videos circulating on YouTube that commemorate people who have died in connection with three protest events across Europe, putting on display the “spectacles of death” punctuating each of these events. The analysis draws on social semiotics, in particular the work of Barthes (1981) and Zelizer (2010), to examine how death is used as a visual trope to signify the ultimate prize of taking to the streets. This chapter suggests how agency and meaning travel back and forth between offline and online spaces of activism. Engaging with some implications of this interplay, the chapter argues that, in the quest to document truth and induce realism and immediacy, tensions between fact and fiction emerge in the creative appropriation and remixing of images. Finally, it demonstrates how the cityscape is recruited to document and dramatize the spectacle of death as part of a larger struggle for semiotic resources within the protest space and over media representations of social movements more generally.