• Narrating Migrant Workplace Experiences: Social Remittances to Poland as Knowledge of British Workplace Cultures

      Galasińska, Aleksandra; Haynes, Mike (Centre of Migration Research, University of Warsaw and Polish Academy of Sciences, 2016-10-10)
      This paper explores how the workplace experience of migrants helps to determine part of the social remittances they can make to their country of origin. The social remittance literature needs to pay more attention to work as an element of the migrant experience. Focus is placed on public internet forums related to newspapers in Poland because these are a very open means of communicating experience to the public sphere. To support the analysis, UK census and other data are used to show both the breadth of work done by Polish migrants in the UK and some of its peculiarities. This is then followed with a more qualitative analysis of selected comments from the gazeta.pl website. The complexities of both the range of migrants’ ideas about their work and also the analysis of internet-based newspaper com-ment sites as a form of public communication are shown.
    • National Renewal in the discourse of Neoliberal Transition in Britain and Chile

      Mansel, Jon; Urbina, Maria; Watkins, Heather (Routledge, 2018-11-22)
      The term neoliberalism became associated with processes of economic and social restructuring in various parts of the world during the latter years of the twentieth century. While the importance of these processes is undisputed, the extent to which neoliberalism constitutes a coherent and consistent ideology, or merely a contingent and contextual set of broadly related policies, remains a source of contention. In this article we explore this question through a comparative analysis of the political discourse of neoliberal transition in Britain and Chile. Drawing on the model of historical comparison developed by Antonio Gramsci, we argue that these two countries represent paradigm cases of the constitutional and authoritarian routes to neoliberalism. However, by focusing on the discourses of national renewal in the speeches and writings of Margaret Thatcher and Augusto Pinochet, we argue that both cases rest on a particular articulation of the themes of coercion and consent. As such, we suggest that while each paradigm articulates these themes in distinct ways, it is the relationship between the two that is essential to the political ideology of neoliberalism, as the coercive construction of consensus in Chile and the consensual construction of coercion in Britain.
    • Negotiating Public Space: The Post-Soviet Linguistic Landscape in Kazakhstan

      Moore, Irina (Common Ground Publishing, 2014-08)
      The purpose of this article is to understand the extent to which language practices coincide with official language policy in urban Kazakhstan. It provides a review of language policies in Kazakhstan since the country gained independence from the USSR and analyses the current sociolinguistic situation. A linguistic landscape approach is used to investigate language practices in the capital, Astana. A collection of photographs of public signage was collected from the three main districts of the city. These were analysed quantitatively and qualitatively, in terms of the frequency of appearance of specific languages, the order of their appearance in multilingual signs, font size, colour, etc. The article reports on this investigation and finds a considerable difference between official policy and language practices. To date, only a few research projects have analysed post-Soviet linguistic landscape. Consequently, this article highlights potential contributions of such an approach to the study of language and identity politics and helps deeper understanding of language use in the post-Soviet space.
    • New forms for 21st century conceptualism

      Harrison, Dew (MIT Press, 2005)
      Concerns the synthesis of new media art theory, digital technology and conceptual art in practice-based research. Harrison questions the validity of (and offers alternatives to) lens and screen-based media as the basis for teaching digital media theory to new practitioners.
    • New Opportunities for Artistic Practice in Virtual Worlds

      Doyle, Denise (IGI Global, Hershey, Pennyslvania, 2015)
      lthough virtual worlds continue to grow in popularity, a substantial amount of research is needed to determine best practices in virtual spaces. The artistic community is one field where virtual worlds can be utilized to the greatest effect. New Opportunities for Artistic Practice in Virtual Worlds provides a coherent account of artistic practices in virtual worlds and considers the contribution the Second Life platform has made in a historical, theoretical, and critical context within the fields of art and technology. This volume is intended for both artists and scholars in the areas of digital art, art and technology, media arts history, virtual worlds, and games studies, as well as a broader academic audience who are interested in the philosophical implications of virtual spaces.
    • ‘Next you’re Franklin Shepard Inc.?’ Composing the Broadway musical, a study of Kurt Weill’s working practices

      Whitfield, Sarah (Intellect, 2016-06-01)
      This article contextualizes the working processes of musical theatre composers, revealing their work to be profoundly immersed in collaborative practices. Several recent publications have destabilized the authority of the author figure, by addressing the practicalities of referring to Broadway musicals as the work of one or two creative figures: Dominic McHugh’s recent exploration of the work that post-World War II Broadway musical theatre composers do reveals a network of interactions between the composers and amanuenses, orchestrators, and vocal arrangers. Even within this framework Weill is seen to be unlike other Broadway composers, since he does much of this work himself. This article proposes that the term ‘Broadway composer’ is unhelpful in fully understanding what Weill and others like him actually do, beyond putting notes on a page. The article lays out Weill’s actual working practices; collaboration in proposing new projects, the pre-production and rehearsal process, utilizing music after publication across different mediums, and his careful management of his own public reputation. Having done this, it calls for McHugh’s paradigm to be extended much further in order to acknowledge what composition in Broadway musical theatre involves – writing Broadway musicals means necessarily being a composer-as-collaborator.
    • #nomakeupselfies: the face of hashtag slacktivism

      Hampton, Claire (Media Communications & Cultural Studies Association, 2015-12-07)
      This article interrogates the significance of the selfie in the construction of contemporary female identity through a close analysis of the #nomakeupselfie meme. Drawing on the distinct but conversant theoretical frameworks of cyber-feminisms, post-feminisms and breast cancer culture, it involves both a theoretical investigation and a phenomenological reflection on the selfie trend in question. Mobilizing Foucault’s concept of governmentality, which he used to contextualise the link between technologies of domination and his later postulations on technologies of the self, the article explores the oppositional feminist viewpoints regarding empowerment and agency in online identity construction. It also constitutes an auto-ethnographic response to the phenomenon from my nuanced position as a young, female, selfie-taking, feminist, academic, breast cancer survivor. The analysis of the #nomakeupselfie meme focuses on three central issues: the problematic relationship between breast cancer and beauty; the trivialization, infantilisation and sexualisation of the disease inherent in contemporary breast cancer culture and the self-commodification of the female body as part of a consumer activist transaction.
    • Norms and exploitations in lexicography

      Moze, Sara.; Hanks, Patrick. de Schryver, Gilles-Maurice. (Springer, 2017-09-13)
    • Notebook

      Wood, John; Harrison, Paul (2004)
      “Notebook” is presented as either a single or six channel video installation consisting of numerous manipulations of everyday objects by the collaborating artists. The work, consisting of 101 short sections, shot within a single, simple set (which can be read as an office space, laboratory, domestic kitchen etc) seeks to play with the ‘everyday’. Where architectural form often dictates physical activity the action depicted alters the reading of the physical space. Each action takes an everyday object and alters its function, slightly. The tabletop on which the actions occur becomes everything from an office desk to a landscape. It seeks to playfully look at how everyday objects can be re-invented and therefore re-examined. And how within sterile environments (the office, the factory, the gallery) elements of play exist.
    • Oh Yeah Decca!

      Fahy, Su (Minnesota Center for Book Arts, 2015)
    • One or the Other

      Kossoff, Adam (Adam Kossoff, 2017-12)
      One Or The Other is an exploration of the paradoxical relationship between the homeland and the creation of a nation state in Israel. The film argues that the long distance nationalism of Western diasporic communities has had more influence than responsibility and the creation of the Palestinian Other is a product of the blindness of nationalism. Combining home movies and images of contemporary Israel, it simultaneously presents different historical periods; time and place being central to the theme of home and the homelands.
    • other plans

      Harrison, Paul; Wood, John (Vera Cortes, 2017)
      Solo exhibition by Paul Harrison and John Wood at Vera Cortes gallery, Lisbon, Portugal
    • “Our observations should not be disunited”: Collaborative Women’s Travel Writing, 1780-1840

      Colbert, Benjamin (Universite Blaise-Pascal, France, 2016-03)
      Before 1780, only ten books of travel by women had been published in Britain and Ireland, all by single authors if we discount the role of translators (two of the ten were translations from the French)1. After 1780, as the Database of Women’s Travel Writing (2014) demonstrates with statistical accuracy, women for the first time established themselves as a continuous presence in the travel writing market, increasing their output from 5 titles in the 1780s to 74 in the 1830s2. These figures include diverse travel genres, principally narratives, guidebooks, and letterpress plate books, but also travel-based storybooks for young audiences, digests, and collections. For the first time, we begin to see female travel writers experimenting with authorial roles such as co-author, contributor, editor, translator, abridger, compiler, letterpress writer, and illustrator. In other instances, women’s travel writing finds its way into print, sometime posthumously, only through the intervention of others, editors who overlay their own language, perspectives, and agendas, a form of collaboration to be sure, but not one that embodies the joint production some might associate with the term. Of the 204 titles covered by the Database, 47 (or 23 %) involve multiple authorial relationships, though only seven of these are jointly written works where authors have coordinated their writings with the aim of publication. This article and the taxonomic checklist that follows it explore in more detail the nature of and motivations behind authorial partnerships in the light of particular instances of them, addressing fundamental questions: What types of collaboration are there, and what are the conditions of co-writing? How is joint production presented textually and paratextually? How do men and women collaborators negotiate the gendered spaces and expectations of travel and travel writing?
    • Out of this World: exploring embodiment and space through artistic processes and practice

      Doyle, Denise (Routledge, 2015-02)
      This article considers the artistic exploration of embodiment at the frontiers and edges of space. With a focus on both outer space and virtual space, the article explores the practices employed by artists who have taken on a virtual body as a vehicle to explore the virtual space of virtual worlds and those artists aiming to free their physical bodies of gravity and experience weightlessness in the artistic exploration of outer space. Perhaps the myths and realities of both astronauts (or those who have experienced their bodies in zero gravity) and avatars are one and the same – that of bodies travelling in unknown spaces and time. The article aims to reveal the common threads of experiences of embodiment and space drawing together issues of the weightless, the virtual and the immaterial body.
    • Painting, the Virtual, and the Celluloid Frame

      Harris, Simon J.; Grimshaw, Mark (Oxford University Press, 2014-02-27)
      This chapter discusses and progresses through an aesthetic enquiry into a relationship between the virtual and the actual surface of painting. It is through the inherent temporality of both painting and cinema that the notion of a dynamic duration is interrogated. At the core of this investigative methodology the philosophies of both Henri Bergson and Gilles Deleuze are employed to examine how duration in painting can be experienced outside of the static recollection. Fundamentally this follows Deleuze’s seminal writing about the cinematic and the function of the image in relation to time. The author accepts Deleuze’s invitation to employ his concepts as a toolbox for dynamism. Thus a model is assembled in which the notion of the “recollection-image” and its relationship to the temporality of the “movement-image” is developed through the potential of the figural as a space between the figurative and the abstract in painting.
    • Pandemic suspension

      Penzin, Alexey (Radical Philosophy Group, 2020-10-30)
    • Paper Shadows

      Sherwin, Guy (Studio Kura, 2016-10)
      We are happy to announce an exhibition Paper Shadows 2016 by Guy Sherwin, as a result of his activity during his stay at Studio Kura. This will be shown as a part of Itoshima International Art Festival 2016, Itoshima Arts Farm. Guy Sherwin is an artist based in London who works with 16mm film and other forms of moving image. He studied painting before becoming involved with the London Film-Makers Co-operative. The work is about elemental ideas of form, pattern, light and rhythm, either shot with a camera or hand-made directly on film. The films are sometimes shown in galleries but more often presented as projection events, using several projectors and live interventions. For these he collaborates with Lynn Loo (also on the residency) and together they have toured programmes of live cinema internationally. Here are some words from the artist himself. An installation made for the missing Shoji screens in the large tatami room at House 2. The projected images were recorded in the same space at different times of day and night. The aim is to (re)direct viewers attention to the presence of space and time and is a continuation of my previous work.
    • Park Products

      Böhm, Kathrin (2004)
      A series of collaboratively produced products using resources from Kensington Gardens, Hyde Park London presented in a mobile market stall and exchanged for small tasks to be done around the park. Working from positions of art and architecture, the project set out to design a new prototype for cultural exchange within public space by asking the following questions: What cultural, social and material resources are associated with the Serpentine Gallery? Can the production of cultural products and services find sustenance through non-monetary communication-based exchange? Strategies included collaborations with product designers on the design and production of artefacts made from material supplied by the Royal Park ground staff. This led to relationships and negotiations with involved institutions on issues of intellectual copyright, project evaluation and project legacy. The project engaged the public through principals of informal economics; resulting in the exchange of park-labour for products plus discussions on art/architecture collaboration, cultural production and public participation.