• Multitude void: the regal mode of imperial legitimation

      Halligan, Benjamin; Penzin, Alexei; Halligan, Benjamin; Pippa, Stefano; Carson, Rebecca (Bloomsbury Academic, 2021-09-01)
    • The Courtesan and the Collaborator: Marguérite [2008]

      Chandler, Clare; Jubin, Olaf (Routledge, 2021-05-01)
    • Beatrice Warde, May Lamberton Becker and Books Across the Sea

      Glaser, Jessica; Roberto, Rose; Alexiou, Artemis (Peter Lang, 2021-01-01)
    • World’s end: punk films from London and New York, 1977-1984

      Halligan, Benjamin; McKay, George; Arnold, Gina (Oxford University Press, 2020-12-31)
      Saturday Night Fever (John Badham, 1977) concludes with the protagonist, seemingly weary of the company of his delinquent friends (given over to gang violence and gang rape, and in the wake of the needless death of the youngest and most disorientated), finding a moment of peace in the apartment of his previously unenthused girlfriend. They have reconciled, a future together has begun, and “How Deep is Your Love” by the Bee Gees – a major international chart hit of 1977 – plays over the closing credits. The couple’s connection was initially based on shared disco dancing abilities, and their get-togethers on the dance floor and in the dance studio have offered the opportunity of an escape for each. For Tony Manero (John Travolta), the escape is from his underpaid blue-collar job and suffocating family tensions – where his life at home, as a second-generation Italian immigrant, seems like stepping back into the old country for family meals, in sharp contrast to the grooming he devotes to his appearance, upstairs in his bedroom. Once outside, the very streets of New York seem to have been recast as a dance floor – via mobile shots of Travolta’s feet, pacing with a cocksure swagger to the beat of the Bee Gees soundtrack. For Stephanie Mangano (Karen Lynn Gorney), the escape is from more obscure forms of patriarchal exploitation, enacted via her aspirations to a glamourous and independent life, which can be read as calibrated to an imagining of the nightclub Studio 54 (which opened in 1977), not least in her celebrity name-dropping and initial distaste for her uncultured suitor. The final shot of Saturday Night Fever frames the couple in her apartment: polished wooden floors, exposed brick walls, a healthy rubber plant, an acoustic guitar resting against a sofa, and a window ledge looking out across Manhattan – a much more desirable locale than the film’s initial setting of Tony’s Brooklyn (see Figure 1). In short, to return to “How Deep is Your Love”, the couple have realised that they were “living in a world of fools / breaking us down when they all should let us be / [since] we belong to you and me”, and enshrine this shared sentiment in domestication. The New York of 1977 has tested them and their success in meeting this test has allowed them to take a synchronised step forward, and establish themselves on an upwardly mobile trajectory.
    • Identity: Being-in-the-world and becoming

      Dhanda, Meena; Garchar, Kimberley; Shew, Melissa (Oxford University Press, 2020-12-01)
    • 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.
    • 'Made to think and forced to feel': The power of counter-ritual

      Dhanda, Meena; Rathore, Aakash Singh (Oxford University Press, 2020-09-03)
      Dr Ambedkar argued that habitual conduct with the backing of religion is not easy to change and that salvation will come only if the caste Hindu is ‘made to think and is forced to feel that he must alter his ways’. He meant that the casteist conduct of the ‘caste Hindu’ is hard to change because it springs from an ingrained habit of mind. The impetus to change ways can come from unexpected contingencies: impersonal political junctures, very personal histories, inter-personal challenges, intra-group skirmishes, a whole network of factors that brings the habitual conduct of caste up for scrutiny. This mix of factors is quite complicated in the U.K. where I am located as a researcher and academic, regularly engaging with the public. We need to think through the means of defiance against systematic oppression and stigmatisation of people on the basis of caste. In this paper I will reflect upon whether caste might be disrupted in its everyday reproduction through the use of counter-rituals.
    • 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.
    • Play time: Gender, anti-semitism and temporality in medieval biblical drama

      Black, Daisy (Manchester University Press, 2020-08-01)
    • 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.
    • A space has been made: revealing bisexual+ stories in musical theatre

      Whitfield, Sarah (John Hopkins University Press, 2020-07-21)
    • SOLUS: An Online Audiovisual Installation (NIME2020 installation proposal)

      Dalgleish, Mat (Birmingham City University, 2020-07-21)
    • 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.
    • Training the animator anew: Developing cross-disciplinary opportunities for puppetry in arts, health and education

      Prior, Ross (Intellect, 2020-07-01)
      This positioning article explores a reimagining within the field of applied theatre where through the medium of puppetry, the art and artist may become one as a way of healing. Building upon conceptual principles of animism, transference and embodiment, it is proposed that puppeteer training be usefully integrated into higher education applied arts and health programmes as an extension to existing programmes. Value is given to the metaphorical use of the puppet in both education and therapy. It is proposed that puppeteers may gain value from engaging with crossdisciplinary art-based research as a way to further understand puppetry’s uses and furthering their own practices.
    • Disrupting heteronormative temporality through queer dramaturgies: Fun Home, Hadestown and A Strange Loop

      Whitfield, Sarah (MDPI, 2020-06-15)
      This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the ‘quagmire of the present’ (Mũnoz, 2009 1): and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how utopian ‘small but profound moments’ (Dolan 2005, p. 6) may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Mũnoz (2009) and Elizabeth Freeman (2010). It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.
    • Sound objects: Towards procedural audio for and as theatre

      Whitfield, Sarah; Dalgleish, Mat; Toulson, Rob; Paterson, Justin; Hepworth- Sawyer, Russ (Routledge, 2020-06-01)
      Procedural audio has been the subject of significant contemporary interest, but prior examples in relation to theatre sound are limited. After providing background to theatre sound and procedural audio, we introduce two artefacts, RayGun and INTERIOR, that explore issues around theatre sound. RayGun is an augmented prop prototype that uses sensor driven, procedurally generated and locally diffused sound to address prior deficiencies. INTERIOR reimagines Maurice Maeterlinck’s 1895 play Interior as an embedded, generative and largely procedurally generated audio play housed in a shortwave radio-like artefact. Intended to provide an accessible experience, the listener uses a single knob interface to scan through a soundscape of simulated radio stations and ‘find’ the play. We present some initial findings and conclude with suggestions for future work.
    • Afterword: towards a future paradigm

      Prior, Ross W; Mateus-Berr, Ruth; Jochum, Richard (De Gruyter, 2020-05-01)
      The use of art as research has greatly matured, and, despite the current preoccupation with measurement in the education sector, artistic research has continued to gain acceptance as a legitimate methodology for artists. Yet art-based research is still not completely and universally embedded within higher education learning and teaching approaches. The field’s continued lack of confidence in using art as a vehicle of research is one reason. There is a need to stop relying upon other disciplines to justify the power of art. If we acknowledge that words cannot always reveal the uniquely felt qualities of art, then we cannot persist in using words as exclusive modes of research. Personal, embodied ways of knowing are of interest to researchers, and values the importance of knowledge that is incrementally gained through the act of doing and being. However, art is empirical—art and art processes are observable and can be entwined throughout the art-making process as a methodology of inquiry. Proposed here, as a future paradigm, is the threefold primacy of art in research, learning and teaching—positioning art as the topic, process and outcome of research. Significantly art as research recognizes art objects as full participants and uses art as its evidence.
    • 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…
    • IV—Philosophical foundations of anti-casteism

      Dhanda, Meena (Oxford University Press (OUP), 2020-04-27)
      The paper begins from a working definition of caste as a contentious form of social belonging and a consideration of casteism as a form of inferiorization. It takes anti-casteism as an ideological critique aimed at unmasking the unethical operations of caste, drawing upon B. R. Ambedkar’s notion of caste as ‘graded inequality’. The politico-legal context of the unfinished trajectory of instituting protection against caste discrimination in Britain provides the backdrop for thinking through the philosophical foundations of anti-casteism. The peculiar religio-discursive aspect of ‘emergent vulnerability’ is noted, which explains the recent introduction of the trope of ‘institutional casteism’ used as a shield by deniers of caste against accusations of casteism. The language of protest historically introduced by anti-racists is thus usurped and inverted in a simulated language of anti-colonialism. It is suggested that the stymieing of the UK legislation on caste is an effect of collective hypocrisies, the refusal to acknowledge caste privilege, and the continuity of an agonistic intellectual inheritance, exemplified in the deep differences between Ambedkar and Gandhi in the Indian nationalist discourse on caste. The paper argues that for a modern anti-casteism to develop, at stake is the possibility of an ethical social solidarity. Following Ambedkar, this expansive solidarity can only be found through our willingness to subject received opinions and traditions to critical scrutiny. Since opposed groups ‘make sense’ of their worlds in ways that might generate collective hypocrisies of denial of caste effects, anti-casteism must be geared to expose the lie that caste as the system of graded inequality is benign and seamlessly self-perpetuating, when it is everywhere enforced through penalties for transgression of local caste norms with the complicity of the privileged castes. The ideal for modern anti-casteism is Maitri (friendship) formed through praxis, eschewing birth-ascribed caste status and loyalties.