• Marginalising co-operation? A discursive analysis of media reporting on the Co-operative Bank

      Mangan, Anita; Byrne, Aidan (Sage, 2018-07)
      Recently there has been renewed academic interest in co-operatives. In contrast, media accounts of co-operatives are relatively scarce, particularly in the UK, where business reporting usually focuses on capitalist narratives, with alternatives routinely marginalised until a scandal pushes them into the public eye. This paper analyses media coverage of the UK’s Co-operative Bank (2011-15), tracing its transformation from an unremarkable presence on the UK high street to preferred bidder for Lloyds Bank branches, and its subsequent near collapse. The paper charts changes in reporting and media interest in the bank through five discursive frames: member and customer service; standard financial reporting; human interest, personality-driven journalism; the PR machine; and political coverage. Our analysis discusses three points: the politicisation of the story through covert and overt political values; simplification and sensationalism; and media hegemony. We argue that although moments of crisis provide an opening for re-evaluating the dominant reporting model, established frames tend to reassert themselves as a story develops. This produces good copy that reflects the interests of the publishers, but does not extend understanding of co-operative organisations. Thus the paper identifies the role of the media in delegitimising organisations with alternative governance structures, thereby promoting ideological and economic conformity. http://mc.
    • Painting, the Virtual, and the Celluloid Frame

      Harris, Simon J. (Oxford University Press, 2018-06-29)
      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.
    • Design Probes for People with Dementia

      Garde, Julia Anne; Van Der Voort, Mascha Cécile; Niedderer, Kristina (Design Research Society, 2018-06-28)
      In order to include persons with dementia in the MinD project actively, design probes were developed to provide insight into their perspectives. We applied probes due to their exploratory character and participation through self-documentation. The aim of this paper is to reflect on the design of the probes in relation to the outcomes as a source of inspiration for designers. More specifically, we investigate the openness and tangibility of the probes, and their content relating to the past, the current or the future. The five participants completed the probes to a large extent. The openness of assignments influenced their completion and the resulting value for empathizing and inspiration for designers: More defined assignments led to more sharing of personal and sensitive information than very open ones. While crafty, tangible assignments were filled in more extensively than less tangible ones, the classical writing assignments resulted more often in more introspective and reflective information from participants. Furthermore, participants filled in assignments about past memories more extensively than those relating to future goals.
    • All Work, No Play…: Representations of Child Labour in Films of the First World War

      HOCKENHULL, STELLA (Taylor & Francis, 2018-05-21)
      This article analyses the representation of children in short documentary films of the First World War. It suggests that, rather than adopting sentiment which might evoke emotion and mobilise public protest, the films were more pragmatic, aimed at conscripting children for the war effort. Indeed, they deployed a non sentimental approach, instead favouring military order which chimed with the predominating ‘structure of feeling’ of that period. Examining the campaign to encourage children to form part of the workforce and support the patriotic cause, this essay analyses a number of newsreel documentaries within the context of contemporaneous visual culture.
    • Whoever pays the piper calls the tune: Kurt Jooss, Public Subsidy and Private Patronage

      Lidbury, Clare (Edinburgh University Press, 2018-05)
      This article discusses how subsidy and patronage from German municipalities, private individuals, and British organisations supported Kurt Jooss’s artistic output enabling him to create new work, to have high production values, and to present and disseminate his work in Britain, across Europe, the USA and South America. Working chronologically consideration is given to how each sponsor and benefactor impacted on Jooss’s work, particularly his activities as a theatre/opera director and as a choreographer for Baroque operas and oratorios. It is concluded that without such deliberate sponsorship Jooss’s work would have been severely restricted.
    • The Sacred, Heterology and Transparency: Between Bataille and Baudrillard

      Pawlett, William; Wolverhampton University (Sage, 2018-04-19)
      This article re-examines Bataille’s increasingly influential notion of the sacred, with particular emphasis on the left or impure aspects of the sacred and their relationship to social structure or topology. Bataille’s understanding of the ‘sacred nucleus’ of society is examined in detail, particularly his suggestion that society endures only as the hardening of the conduits of sacred and profane around a radically heterogeneous, impure or ‘filthy’ central nucleus. For Bataille the sacred as heterogeneous is necessarily excluded from profane, homogeneous working life, and is internally divided between left and right, or pure and impure aspects. The article then examines the theme of profanation in Bataille’s writing, and the emergence of what he calls ‘post-sacred’ society. Finally, the article turns to Baudrillard’s relationship to Bataille’s work, and, beyond their common indebtedness to Mauss, the author examines the thematic relationship between Bataille’s heterological sacred and Baudrillard’s notions of symbolic exchange, evil and transparency. Baudrillard’s work presents a version of heterology more adapted to the contemporary era of rampant consumerism and virtual technologies, but, as the author argues, it actually departs rather little from Bataille’s position. However, for Baudrillard, profanation generates conditions of hyper-positivity and transparency which reintroduce evil, repulsion and disorder into the social system.
    • Risk-Aversion or Ethical Responsibility? Towards a New Research Ethics Paradigm

      Jacobs, Stephen; Apperley, Alan; University of Wolverhampton; University of Wolverhampton (Equinox, 2018-03-13)
      Ethics seems to be of increasing concern for researchers in Higher Education Institutes and funding bodies demand ever more transparent and robust ethics procedures. While we agree that an ethical approach to fieldwork in religion is critical, we take issue with the approach that ethics committees and reviews adopt in assessing the ethicality of proposed research projects. We identify that the approach to research ethics is informed by consequentialism – the consequences of actions, and Kantianism – the idea of duty. These two ethical paradigms are amenable to the prevailing audit culture of HE. We argue that these ethical paradigms, while might be apposite for bio-medical research, are not appropriate for fieldwork in religion. However, because ethics should be a crucial consideration for all research, it is necessary to identify a different approach to ethical issues arising in ethnographic research. We suggest that a virtue ethics approach – concerned with character – is much more consistent with the situated, relational and ongoing nature of ethnographic research.
    • Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis

      Geal, Robert; University of Wolverhampton, UK (Sage, 2018-03-12)
      This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.
    • Electric Cherry Blossom

      Harris, Simon J. (Sarah Wiseman Gallery, 2018-03-03)
      'Electric Cherry Blossom' was inspired by a recent visit Simon made to the Van Gogh Museum in Amsterdam. He is in essence concerned with painting as an act in and of itself, exploring the interplay between the recognisable and abstracted expression. His influences are varied; he cites Van Gogh and Japanese printmaking; Vermeer and Rembrandt; Cinematography. These influences all reference developments in our understanding and preoccupation with pictorial space, and how abstract, apparently empty spaces can carry so much more weight in a painting or an image than we might first realise.
    • Shift-Life Interactive Art: Mixed-Reality Artificial Ecosystem Simulation

      Ch'ng, Eugene; Harrison, Dew; Moore, Samantha (MIT Press, 2018-03-01)
      This article presents a detailed design, development and implementation of a Mixed Reality Art-Science collaboration project which was exhibited during Darwin’s bicentenary exhibition at Shrewsbury, England. As an artist-led project the concerns of the artist were paramount, and this article presents Shift-Life as part of an on-going exploration into the parallels between the non-linear human thinking process and computation using semantic association to link items into ideas, and ideas into holistic concepts. Our art explores perceptions and states of mind as we move our attention between the simulated world of the computer and the real-world we inhabit, which means that any viewer engagement is participatory rather than passive. From a Mixed Reality point of view, the lead author intends to explore the convergence of the physical and virtual, therefore the formalization of the Mixed Reality system, focusing on the integration of artificial life, ecology, physical sensors and participant interaction through an interface of physical props. It is common for digital media artists to allow viewers to activate a work either through a computer screen via direct keyboard or mouse manipulation, or through immersive means to activate their work, for “Shift-Life” the artist was concerned with a direct “relational” approach where viewers would intuitively engage with the installation’s everyday objects, and with each other, to fully experience the piece. The Mixed Reality system is mediated via physical environmental sensors, which affect the virtual environment and autonomous agents, which in turn reacts and is expressed as virtual pixels projected onto a physical surface. The tangible hands-on interface proved to be instinctive, attractive and informative on many levels, delivering a good example of collaboration between the Arts and Science.
    • Introduction: Antiquity and Modernity of Soviet Marxism

      Chehonadskih, Maria; Chukhrov, Keti; Penzin, Alexei (EUSP, 2018-02-22)
      Fredric Jameson once pointed out that the Marxist tradition is already our Antiquity due to its significance and historical distance. This distance allows us to view it from the outside, and to reinvent Marxism for our own time. The same could be said about the most paradoxical version of this tradition's Soviet Marxism. However, there are particular qualities that single it out from the classical antiquity of Marxist tradition. Even internationally known Soviet works (by Vygotsky, Bakhtin, amongst В­others) are not perceived as belonging to a unitary theoretical tradition, and are even less associated with Marxism and the heritage of 1917. It may therefore seem that the October Revolution of 1917, although being recognized as the key event of the short twentieth century has not created a universally recognizable and consolidated body of thought. It is, therefore, a difficult task to outline this field, and this is why the current lens of historical distance might be helpful in attempting to grasp both this unity and the richness of its internal differentiations.
    • The Political Slogan in Communist Czechoslovakia (1948–89)

      Dickins, Tom; University of Wolverhampton, UK (Taylor & Francis, 2018-02-15)
      This article employs an interdisciplinary approach to evaluate the role of the political slogan in Communist Czechoslovakia, with reference to Bakhtin’s concept of hierarchically superior texts, as developed by Alexei Yurchak and Michal Pullmann. It argues that the slogan performed a much wider range of temporally specific functions than has been generally recognized, and that its repetitive and ritualistic character had a major psychological effect on people’s memory and perception of reality (see C. Atkinson and R.M. Shiffrin, and David I. Kertzer). A clear distinction is drawn between denotative and connotative meaning, with detailed attention paid to J.L. Austin’s speech act theory, as elaborated by John R. Searle. The first two sections of the article define the concept and the functions of the ‘political slogan’, with special significance accorded to the use of language to establish a binary opposition between ‘us’ and ‘them’ (à la John B. Thompson’s notion of fragmentation). The third part identifies the sources and methodology adopted, and lists the principal word tokens identified. Following a brief contextualization of the slogan in the next section, the main body of the study uses corpus-assisted statistical analysis to evaluate the development of different thematic, lexical and semantic referents over three broad time spans (1948 to the mid-1950s, the mid-1950s to 1968, and 1969 to 1989).
    • Contingency and Necessity in Evald Ilyenkov’s Communist Cosmology

      Penzin, Alexei (e-flux, 2018-02)
      The article argues for contemporary relevance of "Cosmology of the Spirit" by the outstanding Soviet philosopher Evald Ilyenkov, and explores its historical and intellectual contexts. This short treatise was written in the first half of the 1950s, but only published posthumously in the 1980s as it was too heretical to be published in the author’s lifetime. The text was heretical because of its enormous speculative drive. Addressing the physicist idea of the “entropic death of the universe” and using a combination of materialist dialectics and Spinoza’s concept of attribute, Ilyenkov claimed that thought is a necessary attribute of matter as it is able to prevent the terminal entropy of the universe. The paper uses the ideas of Ilyenkov’s cosmology in order to critically address contemporary currents of “speculative” philosophy.
    • MAMIC goes Live: A Music Programming System for Non-Specialist Delivery

      Dalgleish, Mat; Payne, Chris (Routledge/Taylor & Francis, 2018-01)
    • Being Maker-Centric: Making as Method for Self-Organising and Achieving Craft Impact in Local Communities and Economies

      Hackney, Fiona; Figueiredo, Deirdre; Onions, Laura; Rogers, Gavin; Milovanovic, Jana (Routledge, 2018)
    • In Defence of Crude Thinking

      Penzin, Alexei (2018)
    • Mind The Gap: Developing Contexts for Practice

      Ayliffe, Maggie; Harris, Simon J.; Onions, Laura (Taylor & Francis, 2018)
    • Loop: A Circular Ferric Memory in Slow Decline

      Dalgleish, Mat (MIT Press, 2017-12)
      The author describes the manipulation of time and memory in LOOP, a tape-based sound installation started in 2004. Many of my artworks are hybrid assemblages of obsolete and contemporary technology. The use of the obsolete is most immediately apparent in LOOP, a long-running (2004-present) sound installation built out of a Fostex X-34 four track recorder and C90 cassette tape. The Fostex X-34 is in many ways unexceptional: its sound and build quality are adequate at best. Indeed, most notable is perhaps that, by the time of its release in April 2000, it was arguably already rendered obsolete by the rise of MiniDisc recorders and audio-capable home computers. Nevertheless, the X-34 fitted the modest budget of a Birmingham schoolboy, and I acquired a lightly used and moderately discounted ex-demo unit about three months after its launch. The accessibility of the cassette tape was also key: while its popularity had significantly diminished after its late 1980s peak, blank tapes remained readily locally available.