• Falling Slowly

      Kelland, Dean (Asylum Art Gallery, 2016)
      Kelland’s practice examines the construction of masculine gender stereotypes in comedy. The research draws from historical contextualisation of comedy within Post War Britain: autobiographical account, historical figure and comedy character. Cultural context, defines comedy socially and politically, and the comedian in return acts as a mirror that reflects the era’s motifs back upon itself. Dean’s practice utilises multi-disciplinary approaches that encompass performance, photography, filmmaking, and mixed media processes.
    • Fantasy Space and Identity Crisis: Critical Reflections of the War on Terror in Avatar

      Pheasant-Kelly, Frances; E. Block, James; J. Haste, Amanda (Ars Identitatis/Ex-Modio, 2015)
      Coming out of an international conference in Paris on "Global Identities" at the Ecole Pratique des Hautes Etudes during April 2011, these essays begin from the lived experience of groups and individuals as they problematize and engage their own social connectivity and historical directionality. The authors help us to understand as they assemble these building blocks how we can best approach a broader understanding of the emerging global processes of identity formation. The essays in this volume are organized around the four major themes that emerged from the Conference: Re-Imagining Group Identity, Embracing Hybridity, The Challenges of Assimilation, and Locating the Individual in the New Terrain. The groupings highlight the critical tensions which characterize these liminal spaces: the search for new commonalities among emerging communities and social groupings; a brief survey of the essays will reveal the enormous richness of the topics under discussion, through ethnography, interviews, popular culture, literature and poetry, musicology, religion, the culinary arts, history, and social theory.
    • Feeling the beat where it counts: fostering multi-limb rhythm skills with the haptic drum kit

      Holland, SImon; Bouwer, Anders J; Dalgelish, Mathew; Hurtig, Topi M (ACM Press, 2010)
      This paper introduces a tool known as the Haptic Drum Kit, which employs four computer-controlled vibrotactile devices, one attached to each wrist and ankle. In the applications discussed here, haptic pulses are used to guide the playing, on a drum kit, of rhythmic patterns that require multi-limb co-ordination. The immediate aim is to foster rhythm skills and multi-limb coordination. A broader aim is to systematically develop skills in recognizing, identifying, memorizing, retaining, analyzing, reproducing, and composing polyphonic rhythms. We consider the implications of three different theories for this approach: the work of the music educator Dalcroze (1865-1950 [1]; the entrainment theory of human rhythm perception and production [2,3]; and sensory motor contingency theory [4]. In this paper we report on a design study; and identify and discuss a variety of emerging design issues. The study demonstrates that beginning drummers are able to learn intricate drum patterns from haptic stimuli alone.
    • Fiction from the Furnace: A Hundred Years of Black Country Writing

      McDonald, Paul (Sheffield Hallam University Press, 2002)
    • Finding a place to be (version 1) Kiev Performance, Ukraine

      Breslin, Jo; Foster, Christopher (2018-03-05)
    • Firing: Philosophies within contemporary ceramics practice

      Jones, David (Wiltshire: Crowood Press, 2007)
      This book builds on work begun in “Raku – Investigations into Fire”, published in 2000. In “Firing” Jones interrogates the latest ideas, processes and conceptual frameworks that inform the use of fire in artmaking; within a contemporary aesthetic related to ceramics.
    • Fixing Light - Fixing Fire

      Jones, David (2002)
      A solo exhibition developed and curated by David Jones, working in collaboration with: Rod Dorling, art and architectural photographer, Leamington Spa; and John Bell, theatre and exhibitions designer. The overarching idea of the exhibition was to investigate the relationship between Eastern and Western ceramic cultures on the example of raku. More specifically, the research underlying the exhibition addressed the question of how to exhibit contemporary western raku so as to elicit its ties to historical and aesthetic traditions in the East. To this end, the exhibition was designed to display the work of Jones, and to contextualise it through the photography of Dorling to make explicit its relationship to, and its advance from the historical raku ceramic process and philosophy.
    • Flawed Masculinities: The Englishman's Panacea (Performance Film)

      Kelland, Dean (Show One, 2016-05-23)
      In this window exhibition, PhD Fine Art graduate (2016) Dean Kelland will be exhibiting sketchbooks relating to his PhD research entitled Flawed Masculinities: “Rupturing” 1950s/60s/70s British TV Sitcom via a Performance-led Interdisciplinary Arts Practice and screening a film The Englishman’s Panacea. Dean’s research project examines the construction of masculine gender stereotypes in selected situation comedies from the 1950’s, 1960’s and 1970’s. The research draws from historical contextualisation of situation comedy within Post War Britain: autobiographical account, historical figure and sitcom character. Dean’s practice utilises multi-disciplinary approaches that encompass performance, photography, filmmaking, and mixed media processes.
    • Flex-it: Exploring emotional expression through elasticity in digital manufacturing

      Dean, Lionel T.; Niedderer, Kristina (Intellect, 2016-03-01)
      This research investigates the potential of structural flexibility as a functional and affective design element as well as its potential applications. Our research bridges the areas of jewellery design, emotion design and structural development in the Additive Manufacture (AM) of metals. The article offers a theoretical review of the nature of flexible structures and of current deformable AM geometries and their applications. In relation to this, we conducted a series of practical experiments, which explored AM flexible geometries to create emotional expression. Both, existing examples and the outcomes of the experiments were evaluated against the soma-semiotic framework of emotional expression developed by Niedderer. The outcome and contribution of the research is a better understanding of structural geometries of flexibility and their potential uses, as well as of its affective potential.
    • Folk-spectrum music as an expression of alterity in ‘normalization’ Czechoslovakia (1969–89): Context, constraints and characteristics

      Dickins, Tom (Modern Humanities Research Association, 2017-10-31)
      This article seeks to evaluate the challenge posed by folk, country and tramping music to the Communist authorities in ‘normalization’ Czechoslovakia (1969–89) and the measures taken to limit their impact. It outlines the traditions and the historical context of folk-spectrum music, considers the reception of songs by the authorities and the constraints that were imposed upon their performers, analyses the defining characteristics of the compositions — focusing on lexical repetition and the use of recurrent themes and motifs in the creation, exploration and celebration of realities outside the officially promoted discourse of the time — and evaluates and exemplifies the use of colloquial language as a means of expressing informality and intimacy. The study concludes that, although it is impossible to quantify the effects of the music on the approved authoritative discourse, on balance, the folk-spectrum phenomenon was an unwelcome distraction to the Communist regime.
    • “For the first time in forever”: locating Frozen as a feminist Disney musical

      Whitfield, Sarah; Rodosthenous, George (Bloomsbury Methuen, 2017-06-29)
    • 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, 2016-07-05)
      © 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.
    • Forgotten Cameras and Unknown Audiences: Photography, The Time Machine and the Atom Bomb

      Timberlake, John (Cambridge: Scholars Press, 2005)
      Timberlake’s research focuses upon the tension between realism and imagination that is produced when viewing photographic evidence of scientifically informed events. The chapter takes as its starting point two narratives of science fiction and fact involving the camera in a pivotal role. The forgotten Kodak camera which HG Wells’s time traveller refers to in and which, via negativa, plays a key role in the way the story is told and received by its fictional audience. This is examined in relationship to the photographic record of nuclear weapons development and testing, reflected in books such as George Dyson’s Orion, the Atomic Powered Spaceship (2002) and Richard Rhodes’s The Making of the Atomic Bomb (1986).
    • Fostering autonomous motivation, physical activity and cardiorespiratory fitness in rheumatoid arthritis: Protocol and rationale for a randomised control trial

      Rouse, PC; van Zanten, JJCSV; Metsios, GS; Ntoumanis, N; Yu, CA; Koutedakis, Y; Fenton, SAM; Coast, J; Mistry, H; Kitas, GD; et al. (Springer Science and Business Media LLC, 2014-12-19)
      © 2014 Rouse et al. Background: People with rheumatoid arthritis are at greater risk of morbidity and mortality from cardiovascular disease than the general population. Sustained physical activity increases cardio-respiratory fitness and reduces cardiovascular disease risk factors. However, little is known about how we can effectively promote long-term participation in physical activity in patients with rheumatoid arthritis. The literature consistently calls for physical activity interventions, and their implementation, to be theoretically-grounded. Methods/Design: This paper documents the protocol of a randomised control trial that investigates whether a Self-determination Theory-based intervention fosters the adoption and maintenance of physical activity (3, 6 and 12 months) sufficient to provide sustained cardiovascular and personal well-being benefits in patients with rheumatoid arthritis. The cost effectiveness of the intervention will also be determined. The trial is registered as Current Controlled Trials ISRCTN04121489. Discussion: Results from this trial will provide guidance regarding key social environmental factors that can be manipulated to support motivational processes conducive to positive health behaviour change and optimal functioning in patients with Rheumatoid Arthritis.
    • Freak Show Aesthetics and the Politics of Disfigurement: Reconfiguring the Cinematic Terrorist in the Obama era’

      Pheasant-Kelly, Frances; Holden, Lisa; E. Pope, Heather; M. Bryan, Victoria (Cambridge Scholars Publishing, 2016-06)
      Part way through the most recent Bond film, Skyfall (Mendes 2012), villainous antagonist, Raoul Silva (Javier Bardem) removes his facial prosthesis to reveal a horrific disfigurement. It emerges that Silva is a terrorist who targets political sites and public transport systems in a manner similar to Al-Qaeda’s attacks on the United States in 2001 and the London Underground in 2005. Alongside other productions of the new millennium, Skyfall illustrates how the terrorist figure is increasingly signaled, and even defined by physical impairment. Such films often display a particular fascination with the character’s peculiarity to the extent that it becomes not only pivotal to characterization but also to the narrative. Indeed, in Skyfall we learn that the cause of Silva’s disfigurement motivates his terrorist activities and certain scenes consciously present his physical difference as a source of spectacle, rather than as being merely incidental to the narrative. Although villainy has long been associated with some form of physical difference, since 9/11, it is especially associated with facial deviation. Moreover, if facially disfigured villains have appeared in films before 9/11, they did not necessarily display psychological or physical weakness. Contrastingly, the disfigured post-9/11 perpetrator is either psychologically or physically compromised in relation to his/her physiognomic aberration and is also often simultaneously coded as ‘other’ through subtle suggestions of homosexuality and foreignness, these combined features ostensibly constituting a ‘new wave’ of cinematic terrorist representation. While there is no obvious explanation for such a trend, these portrayals may be informed by real-world mediated imagery of radical Muslim cleric, Abu Hamza. Hamza, who had long been suspected of terrorist activity and was convicted of supporting terrorism in 2015, lost an eye and both hands, allegedly in a terrorist incident. One of his hands is replaced by a hook, and he is often pictured holding up his arm, the hook encircling his functional eye. Otherwise, this contemporary mode of signifying the on-screen terrorist may be a conscious effort to depart from other currently contentious terrorist stereotypes (especially the Islamic middle-Eastern character). Indeed, the film Iron Man (Favreau 2008) attracted criticism for its depiction of Afghani fundamentalists because of its portrayal of their leader, Raza (Faran Tahir) as a “typical Middle Eastern hysteric [who] rages about in inflated, un-translated gasps of Arabic” (Catalan). The association of facial disfigurement with bodily weakness and/or psychological instability stems from a broader trend in representations of masculinity, this itself connected to a range of issues beginning well before 9/11. The combination of physical and/or mental fallibility and facial anomaly therefore constitutes a unique development in post-/11 portrayals of terrorist figures. This essay therefore considers the association of disfigurement with the on-screen terrorist by arguing that recent representations of the post-9/11 era, though retaining allusions to ‘foreignness’, depart from Middle Eastern stereotypes to focus on deformity as an alternate means to reconfigure the ‘other’. With emphasis on the Bond franchise – because of its long lineage and preoccupation with villainy - and primarily referring to Casino Royale, and Skyfall, this chapter compares pre- and post-9/11 villains, and engages with theories of ‘freakery’ (Garland-Thomson), criminality (Lombroso), and terrorism (Kassimeris; Jackson; Nacos; Whittaker).
    • From Domus to Polis: hybrid identities in Southey’s letters from England (1807) and Blanco White’s letters from Spain (1822)

      Colbert, Benjamin (Taylor and Francis, 2019-02-18)
      Robert Southey’s fictive travelogue, Letters from England, by Don Manuel Alvarez Espriella (1807), inspired several imitators, most importantly José María Blanco White’s Letters from Spain (1822). These works rejuvenate a fictional device popularised by Montesquieu’s Persian Letters – the “familiar stranger” – at a crucial juncture when British involvement in the affairs of Europe provoked a reassessment of pre-Revolutionary cosmopolitanism. The stranger as “home-interpreter” calls attention to an emerging emphasis in European Romantic thought on the contingency of freedom with hybrid, mobile identities, prefiguring the psycho-social-historical terrain in which Jean-François Lyotard and Dean MacCannell link modernity with travel and tourism. This essay argues that the Romantic figure of the foreign traveller expresses a condition of travel, reflecting Lyotard’s critique of human contingency in his essay, “Domus and Megalopolis.” Southey’s sympathetic stranger modulates a conversation with Wordsworth about the nature of modern subjectivity, historically contingent yet paradoxically liberated from historical particulars. Blanco White’s Letters from Spain demonstrates how displacement, emigration, and expatriation become refigured as conditions of the modern psyche, especially visible in moments of political crisis, when the cosmopolitan polis is immobilised by the myth of the domus.
    • From visual semantic parameterization to graphic visualization

      Zeng, Xin; Mehdi, Qasim; Gough, Norman (Institute of Electrical and Electronics Engineers (IEEE), 2005)
      Visualizing natural language description is a difficult and complex task. When dealing with the process of generating images from natural language descriptions, we firstly should consider the real world and find out what key visual information can be extracted from the sentences which represents the most fundament concepts in both virtual and real environments. In this paper, we present the result of a prototype system called 3DSV (3D Story Visualiser) that generates a virtual scene by using simplified story-based descriptions. In particular, we describe the methodology used to parameterize the visual and describable words into XML formatted data structure. Then we discuss how to interpret the parameterized data and create an interactive real-time 3D virtual environment.
    • From ‘discovered’ to ‘constructivist’ in applied theatre programmes: Preparing postgraduate students as future artist-educators

      Prior, Ross W. (NEW YORK UNIVERSITY, 2016-11-01)
      Applied theatre as a named field is still relatively new yet ‘the range of applied theatre practice is vast; it happens all over the world as part of a grassroots movement involved in social change and community reflection’ (Prendergast & Saxton, vi: 2009). This article explores the underlying teaching philosophies inherent in the published course descriptors of a sample range of eight graduate/postgraduate programmes in applied theatre across three countries. The selection of these programmes, although somewhat random, has been based upon their prominence within academic parlances and those that provide programme documents in English. Consequently the representative sample survey is across one cross-section of postgraduate provision and is analysed in order to extract a range of philosophical themes underpinning learning and teaching. In distilling these philosophies the article presents a discussion of how the subject knowledge of applied theatre work ranges from ‘discovered’ to ‘constructivist’ in nature. In Ross W. Prior 40 turn these themes are interrogated against published research in the field and postulate on how applied theatre programmes might further consider the ways in which they adequately prepare their students as future artist-educators to work in this diverse and challenging field. An outcome of the survey revealed grand claims made in the published programme descriptors.
    • Frozen, Homosexuality and Masochism

      Geal, Robert (Intellect Connect, 2016-10-30)
      Disney’s animated phenomenon Frozen (2013) has been criticized by America’s religious right for its homosexual subtext which allegedly advocates non-Christian values to impressionable audiences. This essay does not dispute the presence of such a subtext, but argues that that the film’s gay codings, rather than celebrating and encouraging homosexuality, invoke bigoted stereotypes, negative psychoanalytic categories and masochistic cinematic conventions. The film represents homosexuality in an ostensibly non-discriminatory manner, but undermines this potential through a range of cultural prejudices and conventionalized conservative cinematic techniques. The last of these elements entails the film’s most sinister approach to homosexuality, reflexively linking a masochistic representation of its gay-coded characters with the ideological passivity of cinematic spectatorship.