• Growth, maturation and overuse injuries in dance and aesthetic sports: a systematic review

      Kolokythas, Nico; Metsios, George; Dinas, P; Allen, Nick; Galloway, Shaun; Wyon, Matthew (Taylor & Francis, 2020-12-31)
      Overuse injuries have higher prevalence than acute injuries in aesthetic sports/activities. However, evidence of their effects and/or relationship with growth, maturation and training load is either equivocal or not well-established. The objective was to investigate the effects and/or associations of: a) growth and maturation as well as b) training load, on overuse injuries in aesthetic sports/activities and dance. A database search was conducted, using standard methods for article identification, selection and risk of bias appraisal. The eligibility criteria consisted of peer-reviewed journals, using any type of study design that investigated the effects/associations between the aforementioned concepts. Twenty-three studies (10,146 participants) met the criteria. These studies were all of cross-sectional design, focusing on gymnastics, dance, diving. Overall, there was a positive association between growth, maturation, and overuse injuries in 19 studies. Six studies reported a positive association of training load and overuse injuries. This review showed inconsistency in how the included studies accounted for the important confounding associations of growth and maturation with overuse injuries in aesthetic sports or activities and in additional to that, showed high or unclear risk of bias. In conclusion, both the quantity and the quality of the research available on growth, maturation and training load with overuse injuries in aesthetic sports or activities is lacking. The available methodological approaches, combined with the heterogeneity of the investigated populations, lead to equivocal and thus, inconclusive evidence.
    • Pandemic suspension

      Penzin, Alexey (Radical Philosophy Group, 2020-10-30)
    • Ray Bradbury on screen: martians, beasts and burning books

      Nichols, Phil; Sassaman, Gary (San Diego Comic Convention, 2020-07-23)
    • Multitude void: the regal mode of imperial legitimation

      Halligan, Benjamin; Penzin, Alexei; Halligan, Benjamin; Pippa, Stefano; Carson, Rebecca (Bloomsbury Academic, 2021-09-01)
    • Forgiveness and moral development

      Satne, P; Teaching Fellow in Philosophy, University of Durham (UK), 50, Old Elvet, DH1 3HN Durham, UK. (Springer Science and Business Media LLC, 2016-06-05)
      © 2016, The Author(s). Forgiveness is clearly an important aspect of our moral lives, yet surprisingly Kant, one of the most important authors in the history of Western ethics, seems to have very little to say about it. Some authors explain this omission by noting that forgiveness sits uncomfortably in Kant’s moral thought: forgiveness seems to have an ineluctably ‘elective’ aspect which makes it to a certain extent arbitrary; thus it stands in tension with Kant’s claim that agents are autonomous beings, capable of determining their own moral status through rational reflection and choice. Other authors recognise that forgiveness plays a role in Kant’s philosophy but fail to appreciate the nature of this duty and misrepresent the Kantian argument in support of it. This paper argues that there is space in Kant’s philosophy for a genuine theory of forgiveness and hopes to lay the grounds for a correct interpretation of this theory. I argue that from a Kantian perspective, forgiveness is not ‘elective’ but, at least in some cases, morally required. I claim that, for Kant, we have an imperfect duty of virtue to forgive repentant wrongdoers that have embarked on a project of self-reflection and self-reform. I develop a novel argument in support of this duty by drawing on Kant’s theory of rational agency, the thesis of radical evil, Kant’s theory of moral development, and the formula of humanity. However, it must be noted that this is a conditional duty and Kant’s position also entails that absence of repentance on the part of the wrongdoer should be taken as evidence of a lack of commitment to a project of self-reflection and self-reform. In such cases, Kant claims, we have a perfect duty to ourselves not to forgive unrepentant wrongdoers. I argue that this duty should be understood as one of the duties of self-esteem, which involves the duty to respect and recognise our own dignity as rational beings.
    • Bare life in an immigration jail: technologies of surveillance in U.S. pre-deportation detention

      Radziwinowiczówna, Agnieszka (Taylor & Francis, 2020-08-29)
      Migration policies globally are characterised by a growth in the use of detention. These dynamics have also been noted in the United States of America, where, increasingly, the private immigration detention infrastructure is the most developed in the world. Like other total institutions, U.S. Immigration and Customs Enforcement (ICE) detention facilities depend on controlling human bodies. This article, which explains how nation-state sovereignty is created by means of surveillance technologies, draws upon the narratives of 26 Mexicans, deported under the administrations of Presidents Bush and Obama and interviewed in four waves of research between 2012 and 2019 in their hometown. The article describes the lived experience of biopolitical interventions on detainees’ bodies and explains the disciplining role of restricting or limiting access to ICTs. The article uses Agamben’s notion of bare life. It describes how biopolitical interventions and disciplines dehumanise precarious migrants and contribute to their governmentality long after their deportation when they abstain from re-entering the United States. The article complicates the notion of bare life by demonstrating that the use of biometrics (fingerprints) not only dehumanises people but also identifies their bodies and thus rehumanise them.
    • Sufrimiento en marcha: estrategias de movilidad de mexicanos deportados de los Estados Unidos

      Radziwinowiczówna, Agnieszka (Universidad del Pacífico, 2019-04-26)
      Desde inicios de este siglo hemos presenciado la realización de estudios que analizan críticamente la deportación y la deportabilidad. Poco sabemos, sin embargo, sobre las trayectorias de los deportados postdeportación. Este fenómeno puede entenderse mejor recurriendo a una tipología integral de estrategias de movilidad postdeportación. El presente artículo analiza el caso de mexicanos deportados de los Estados Unidos y se basa en estudios etnográficos realizados en Oaxaca entre personas que fueron deportadas. La movilidad postdeportación presupone o se deriva de las ausencias y el sufrimiento experimentados por las personas deportadas, movilidad que a menudo constituye un ejemplo de agencia y resistencia, especialmente en el contexto de un retorno no autorizado a los Estados Unidos.
    • Envisaging post-Brexit immobility: Polish migrants’ care intentions concerning their elderly parents

      Radziwinowiczówna, Agnieszka; Rosińska, Anna; Kloc-Nowak, Weronika; Merla, Laura; Kilkey, Majella (University of Bamberg Press, 2020-02-03)
      The United Kingdom’s withdrawal from the European Union will end the European Freedom of Movement and the privileged migration status of EU Citizens in the UK, which will likely affect ‘Brexit families’ and their transnational care arrangements. This is a case study of the biggest migrant group in the UK, namely Poles. Before the Brexit referendum, the first wave of the in-depth interviews identified several types of migrants’ intentions concerning elderly care for their parents who remained in Poland. The research approached intentions as discursive strategies: declarations of care commitment and statements provided to explain the absence of care intentions. The second wave was conducted after the UK had decided to exit the EU and new policies concerning EU citizens were being developed. Brexit’s influence on elderly care intentions is twofold. First, it brings higher uncertainty about future migration regulations and disorientates migrants about the possibilities regarding reunification with their parents in the UK. Second, Brexit appears in the interviews as a discursive construction to alleviate a migrant’s involvement in direct care provision, where they still deem it normatively appropriate to enact this cultural norm, but do not intend to in fact do so.
    • Mixing realities for heritage and health: L'inframince between the real and the virtual

      Harrison, Dew (2020-07-20)
      As an artist and practice-led researcher my work concerns the space between art, technology and consciousness studies, this has developed to include algorithms facilitating behavioural change and I am now the lead partner coordinator for the EU funded MinD project, designing for people with dementia. This paper presents two projects where tangible interfaces to mixed-reality installations have been created to enable the visitor to bridge the space between the real world and virtual states in order to better understand a complex situation.
    • Toward meaningful algorithmic music-making for non-programmers

      Bellingham, Matt; Holland, Simon; Mulholland, Paul (Psychology of Programming Interest Group (PPIG), 2019-08-29)
      Algorithmic composition typically involves manipulating structural elements such as indeterminism, parallelism, choice, multi-choice, recursion, weighting, sequencing, timing, and looping. There exist powerful tools for these purposes, however, many musicians who are not expert programmers find such tools inaccessible and difficult to understand and use. By analysing a representative selection of user interfaces for algorithmic composition, through the use of the Cognitive Dimensions of Notations (CDN) and other analytical tools, we identified candidate design principles, and applied these principles to create and implement a new visual formalism, programming abstraction and execution model. The resulting visual programming language, Choosers, is designed to allow ready visualisation and manipulation of structural elements of the kind involved in algorithmic music composition, while making minimal demand on programming ability. Programming walkthroughs with novice users were used iteratively to refine and validate diverse aspects of the design. Currently, workshops with musical experts and teachers are being conducted to explore the value of the language for varied pragmatic purposes by expressing, manipulating and reflecting on diverse musical examples.
    • Working with experts with experience: Charting co-production and co-design in the development of HCI based design ideas

      Niedderer, Kristina; Harrison, Dew; Gosling, Julie; Craven, Michael; Blackler, Alethea; Losada, Raquel; Cid, Teresa (Springer - Human-Computer Interaction Series, 2020-07-31)
      This chapter outlines the co-design process for ‘Let’s meet up!’, a hybrid electronic system, which combines traditional board games and digital features, created to facilitate and maintain social engagement for people living with dementia. It allows people with dementia to stay in touch with their loved ones and to remain socially and physically active by arranging joint activities for themselves through a simple, user-friendly tangible interface. Let’s meet up! is one of four solutions developed by a multidisciplinary team of researchers and people living with dementia as part of the European MinD project. The aim of MinD was to research and co-develop mindful design solutions to support people with dementia and their caregivers with self-empowerment and social engagement. Co-design with groups of experts with experience (GEE), including people with dementia, caregivers and care professionals, was used throughout the research and development process, comprising data collection, design idea development, decision-making, design concept and prototype development, to ensure the relevance and appropriateness of those ideas, concepts and prototypes for people with dementia. Co-production was increasingly used to enable GEE to co-host and co-curate the co-design sessions, and to take ownership of the process. The chapter explains the process of research and the activities undertaken and provides recommendations for this symbiotic approach, taking into account both the benefits and the limitations.
    • The Courtesan and the Collaborator: Marguérite [2008]

      Chandler, Clare; Jubin, Olaf (Routledge, 2021-03-18)
    • Tim Burton’s benevolently monstrous Frankensteins

      Geal, Robert; Pheasant-Kelly, Fran; Hockenhull, Stella (Edinburgh University Press, 2020-03-01)
    • Warde (née Becker), Beatrice Lamberton Becker (1900–1969)

      Glaser, Jessica (Oxford University Press, 2019-03-30)
      Warde (née Becker), Beatrice Lamberton Becker (1900–1969), typographer, was born in New York, USA, on 20 September 1900, the only child of Gustav Becker (1861–1959), pianist and composer, and his wife, May, née Lamberton (1873–1958), the journalist and literary critic ...
    • Reflexive epistemology in Jaws and Jurassic Park

      Geal, Robert; Hunter, IQ; Melia, Matthew (Bloomsbury Academic, 2020-09-17)
      Jaws is useful to scholarship not only because of its interesting narrative, aesthetic style, performances, and production history, but because it is amenable to academic interpretations from a number of different, potentially contradictory theoretical paradigms. These divergent analyses, in addition to offering their own accounts of how Jaws functions, also suggest that certain films relate to contested theoretical premises in inconsistent, ambiguous and overlapping ways. If rival academic paradigms are really so irreconcilable, as they so frequently claim, then a film which can be convincingly analysed by more than one rival approach suggests either some fundamental flaw in one of the paradigms, or that significant elements of the film respond to the competing paradigms’ very different conceptualisations of how film operates. Proponents of competing theories typically take the former approach, making the case that certain methodological errors invalidate the rival account. This chapter, however, is an exploration of the latter possibility. I argue that the filmmaking and spectatorial motivations over which competing theories claim an explanatory monopoly can be manipulated in intersecting and symbiotic ways in films like Jaws and another Spielberg film that stages horrific non-human violence against a backdrop of human duplicity, Jurassic Park (1993). The chapter outlines how existing scholarship conceptualises filmmaking and spectatorship, discussing rival claims about how Spielberg attempts to engender certain different spectatorial responses to Jaws. I then analyse the ways that the film manipulates ostensibly contradictory dramas associated with these rival scholarly theories, suggesting that Spielberg intuits diverse forms of spectatorial pleasure, and is able to create film which elicits multiple spectatorial responses. I finish by briefly comparing Jaws to Jurassic Park, in order to establish how Spielberg’s multiple dramas relate to potential technological determinants.
    • Beatrice Warde, May Lamberton Becker and Books Across the Sea

      Glaser, Jessica; Roberto, Rose; Alexiou, Artemis (Peter Lang, 2021-01-01)
    • A tale of two poppets

      Fenton, Louise (Museum of Witchcraft and Magic, 2020-04-30)
      On a visit to the Museum of Witchcraft and Magic in 2009, a chance meeting between myself, Louise Fenton, and Graham King, the then owner of the Museum, led to the start of years of research and fascination with the stories behind the curses in the collection (to be included in a forthcoming publication with Troy Books). It began with an introduction to two curious clay dolls, wrapped in brown paper, black tissue paper and ‘Boots the Chemist’ ribbon, that lay in the cabinet of curses along with other poppets. The dolls on display were all intended to harm, yet their histories were relatively unknown. These two poppets were to be the focus of the initial research. This is their story…
    • After Moscow conceptualism: reflections on the center and periphery and cultural belatedness

      Roberts, J (MIT Press, 2020-03-25)
      © 2020 ARTMargins and the Massachusetts Institute of Technology. Conceptual art is not only subject to a striking unevenness and a range of diverse forms across national territories during its emergence, but each national-cultural context in which it emerges is also exposed to the general belatedness of conceptual art’s relationship to its own avant-garde past. Each national-cultural formation was working with, and through, very different cultural and historical materials on the basis of very different kinds of awareness of the avant-garde past and the recent conceptual present. This article addresses this unevenness and belatedness by looking at the case of Moscow conceptualism in the 1970s and 1980s. In a period of post-Thaw and late Soviet ‘stagnation’, conceptual art takes the form in Russia of a gen ralised apophatic withdrawal from the ‘public sphere’, in which the absences, phlegmatic silences, and textual ambiguities of (some) conceptual art, assume a kind of heightened moral and poetic antipode to the (failed) rhetoric of Stalinist productivism. Yet, despite, its modernist reverence for indeterminancy, this work, nevertheless, retains an active ‘working’ relationship to the avant-garde (collective practice, the critique of the artistic monad). As such, this article examines the active and revenant links of Moscow Conceptualism to the memory of the avant-garde, based on Russian art’s contemporary sense of itself as a once major (revolutionary) centre of avant-garde production.
    • The essential line: John Flaxman and neoplatonism in early nineteenth-century manufactures

      Webb, Jane; Atzmon, Lesley (Parlor Press, 2011-03-11)
      This essay explores the work of John Flaxman, a British sculptor of the late eighteenth- and early nineteenth-centuries, whose work ranged from that of a fine artist to a designer for manufactures. Flaxman was most famous as a sculptor and modeller at the end of his life, but he also worked in two-dimensions, indeed the international recognition he received early on in his career was established by the publication of several editions of illustrations.1 These folios were drawings derived from Classical works, as well as the writings of Dante, and it is his graphic translation of the Homeric poems of the Odyssey and Iliad (1793), that I shall be focussing on here. However, rather than separating Flaxman’s graphic design from both his fine art and industrial sculpture, this essay will explore the relationship between his activities in two- and three-dimensions, and consider how Flaxman’s understanding of both fine art sculpture and modelling within an industrial context, may have been instrumental in the construction, and an audience’s subsequent ‘reading’, of his graphic works.
    • Selfies at the border: a terror management reading

      Hampton, Claire (Liminalities, 2020-03-16)
      This article investigates selfies as a cultural practice, examining the innate agency in selfie taking, positioning selfies as a form of resistance. The analysis considers the way Syrian refugees are framing themselves and are being framed, in a variety of photographic images depicting “Europe’s migration crisis” (Crawley and Skleparis). Through an application of Ernest Becker’s discourse on the ‘terror of death’, which is the basis of the social psychology concept of terror management theory, the research asserts the significance of participation and composition in selfies. It questions both literal and conceptual framings of these images and interrogates the ethics of recognisability and response in relation to the multiple frames of conception through which we view and interpret human life.