• Camelot

      Cornford, Matthew (1996)
      For a group exhibition titled City Limits, we chose to invite reflection and debate on the physical and social boundaries which often determine the patterns of city life — in this case by denying people access to some small, neglected fragments of public urban land. Although the site we chose marks the entrance to Hanley town centre, it was defined only by three irregularly shaped patches of grass, flanked with sloping brickwork and cut off by traffic on either side. Rather than using a public art commission to superficially enhance the site, we decided to make an intervention which would engage with the very conception of ‘Public’. By reinforcing the boundaries of these grass verges with an excessive display of authority in the form of steel security fencing we allowed the public to see, but not to walk on the grass, raising the status of the land through its enclosure. In the context of the contemporary debate around security and access within town centres, Camelot explored the political notion of the ‘Tragedy of the Commons’ in which resources not under private ownership fall into neglect. The project title, Camelot, refers to the phenomenally successful United Kingdom National Lottery, an institution on which many artistic and cultural projects are becoming increasingly dependent for money. The Lottery organisers’ choice of ‘Camelot’ evokes a mythical ‘golden
    • Canyon Reflections

      Jones, David (2005)
      “Raku - Origins, Impact and Contemporary Expression” was a symposium and exhibition convened by Professor Jim Romberg, Southern Oregon University, to research the development of new potentials in western raku. The event brought together some of the leading raku specialists worldwide to develop work and an attendant critical discourse. Jones was an invited participant. The group discussed the ancient and the contemporary heritage of raku and then embarked on collaborative ventures to explore a set of propositions concerning the nature of raku practice, which had evolved from the discourse. Set in this context, Jones pieces were made as a reflection on, and reinterpretation of, the vessels made for tea ceremony in a contemporary context.
    • Case study of a performance-active changing trans* male singing voice

      Constansis, Alexandros N.; Foteinou, Aglaia; Independent Scholar, York, UK; University of Wolverhampton, Wolverhampton, UK (Taylor & Francis, 2017-10-11)
      A professional classical singer of more than 25 years (AZ) in his early 50s requested this voice researcher’s consultation and assistance in early 2014. He was about to start living full time as a trans* man. Despite his intention to be included in the low start/gradual increase testosterone option of the Trans* Male (previously, “FTM”) Singing Voice Program, the request contained a rather unconventional aspect: AZ would continue to sing while his voice was changing. The above request was integral with his singing history. After the introduction of safeguards and his informed consent, AZ was accepted onto the Program. Due to the highly individual circumstances, his participation was recorded as a case study. The study has aimed to replicate the particulars of the slow hormonal changes and continuing singing ability found in certain cisgender male adolescent voices. Despite dealing with an adult trans* male individual, the progress has been comparable. This has been achieved by carefully monitoring AZ’s low start/gradual increase testosterone administration in communication with the medical practitioner. The participant’s vocal health remained safeguarded and promoted by carefully individualized vocal tuition. This article will discuss the collective results of the case study, including the recordings and the data analysis.
    • Caste and identity processes among British Sikhs in the Midlands

      Jaspal, Rusi; Takhar, Opinderjit (Taylor & Francis, 2016-06-27)
      This article examines the role of caste in the lives and identities of a small sample of young Sikhs in the English Midlands, using social psychological theory. In many academic writings, there is an implicit representation of caste as a negative aspect of South Asian culture and religion, and of caste identification as a means of oppressing vulnerable outgroups. Twenty-three young Sikhs were interviewed, and the qualitative data were analysed using Identity Process Theory. The following themes are discussed: (i) Caste as a Dormant Social Category, (ii) Anchoring the Caste Ingroup to Positive Social Representations, and (iii) Caste as an Inherent or Constructed Aspect of Identity? It is argued that neither caste nor caste-based prejudice appear to be prominent in the lives and identities of our interviewees but that, because caste is an important symbolic aspect of identity which can acquire salient in particular contexts, some Sikhs may wish to maintain this identity though endogamy. What is understood as caste-based prejudice can be better understood in terms of the downward comparison principle in social psychology. The implications for caste legislation are discussed.
    • Caste in Britain: Experts' Seminar and Stakeholders' Workshop

      Dhanda, Meena; Mosse, David; Waughray, Annapurna; Keane, David; Green, Roger; Iafrati, Stephen; Mundy, Jessica Kate (Equality and Human Rights Commission, U.K., 2014-04-01)
      Background and methodology In April 2013, the Enterprise and Regulatory Reform Act was enacted. Section 97 of the Act requires government to introduce a statutory prohibition of caste discrimination into British equality law by making caste an aspect of the protected characteristic of race in the Equality Act 2010. In the context of this direction, the Equality and Human Rights Commission (EHRC) contracted a team of academics drawn from different research institutions to carry out an independent study on caste in Britain. Alongside a detailed review of socio-legal research on this issue (Dhanda et al, 2014a), the project involved two events: an experts' seminar and a stakeholders' workshop reported on here (Dhanda et al, 2014b). The experts' seminar was aimed at experts on caste and discrimination from law and the social sciences, while the workshop brought together stakeholder groups including representatives from community and faith organisations, employers and service providers. The aims of both events were: • to bring together interdisciplinary expertise and a range of stakeholder views on caste, and discrimination on the basis of caste, in the UK; • to explore views on UK and international law in relation to caste; and • to identify concerns and find common ground in relation to the implementation of the amended equalities law when it includes caste as an aspect of race. Both events addressed three specific questions: how caste should be defined in the Equality Act 2010; what Exceptions and Exclusions for caste should be placed in the Equality Act 2010; and how caste should be related to the Public Sector Equality Duty.
    • Caste in Britain: Socio-Legal Review

      Dhanda, Meena; Waughray, Annapurna; Keane, David; Mosse, David; Green, Roger; Whittle, Stephen (Equality and Human Rights Commission, UK, 2014-06-01)
      Background and aims of the project In April 2013, the Enterprise and Regulatory Reform Act was enacted. Section 97 of the Act requires government to introduce a statutory prohibition of caste discrimination into British equality law by making caste ‘an aspect of’ the protected characteristic of race in the Equality Act 2010. In light of this, the Equality and Human Rights Commission (EHRC) contracted a team of academics drawn from different research institutions to conduct an independent study in two parts: • a review of existing socio-legal research on British equality law and caste; and • two supporting events (for experts and stakeholders). This report (Dhanda et al, 2014a) details the findings from the first part of the study and is best read alongside the report of the experts’ seminar and stakeholders’ workshop (Dhanda et al, 2014b).
    • Casteism amongst Punjabis in Britain

      Dhanda, Meena (Sameeksha Trust Mumbai, 2017-01-21)
      Despite clear evidence of caste-based discrimination, harassment and victimisation, Punjabis in Britain stand divided on identifying with the victims of casteism. In the context of legislative, religious and academic contestations on caste discrimination in Britain, this article argues for acknowledging casteism where it exists.
    • Certain allegiances, uncertain identities: the fraught struggles of Dalits in Britain

      Dhanda, Meena; Dwivedi, Om Prakash (Rodopi/Brill, 2014-01-01)
      Research brought me to Britain twenty-five years ago and I stayed to make a living as an academic in a University. The complex example of the identity of a ‘dalit’ was at the centre of my philosophical investigations to explicate the concept of personal identity. After a gap of few years devoted mainly to teaching, I returned to researching the situation of Punjabi dalits. In the many conversations I’ve had with dalits in the Midlands, in the stories I have heard from them, in the ordinary and celebratory events I have participated in during the last five years, I have tried to understand the experience of caste prejudice and identify the specific forms of dalit standpoints against casteism. Am I well-placed to capture these forms?
    • Chatting through pictures? A classification of images tweeted in one week in the UK and USA

      Thelwall, Mike; Goriunova, Olga; Vis, Farida; Faulkner, Simon; Burns, Anne; Aulich, Jim; Mas-Bleda, Amalia; Stuart, Emma; D'Orazio, Francesco; Statistical Cybermetrics Research Group; School of Mathematics and Computer Science; University of Wolverhampton; Wulfruna Street Wolverhampton WV1 1LY UK; et al. (2015-10-22)
      Twitter is used by a substantial minority of the populations of many countries to share short messages, sometimes including images. Nevertheless, despite some research into specific images, such as selfies, and a few news stories about specific tweeted photographs, little is known about the types of images that are routinely shared. In response, this article reports a content analysis of random samples of 800 images tweeted from the UK or USA during a week at the end of 2014. Although most images were photographs, a substantial minority were hybrid or layered image forms: phone screenshots, collages, captioned pictures, and pictures of text messages. About half were primarily of one or more people, including 10% that were selfies, but a wide variety of other things were also pictured. Some of the images were for advertising or to share a joke but in most cases the purpose of the tweet seemed to be to share the minutiae of daily lives, performing the function of chat or gossip, sometimes in innovative ways.
    • Childhood’s End

      Cornford, Matthew (2000)
      Anarchy symbol with smoke in the sky. This was filmed from a cine camera mounted on the weapon platform under the left wing, and from a miniature video camera inside the cockpit. The duration of the piece is about six minutes, being the time taken to complete the manoeuvre, and the length of one uncut roll of film. Aerobatic displays apply the skills and manoeuvres developed for aerial combat to create public spectacles; the demonstration of technological power and technical prowess serves to pre-empt critical thinking and popularise militarism. Cinema has rich associations with conceptions of utopia: the medium depends on and fuels people’s desire to be mentally ‘transported’; it offers dramatic possibilities to explore utopian and dystopian alternatives to existing social conditions, and it plays on the tensions between individual and collective fantasy. Flying and filming have been historically bound up with militarism on many levels, from the development of related gun and camera technologies to the strategic and cultural implications of new ways of seeing space and movement. ‘Childhood’s End’ is the title of a novel by Arthur C Clarke, which envisions a future where humanity undergoes the loss of innocence or the attainment of maturity, and becomes subject to forces that acknowledge no distinction between ‘good’ and ‘evil’. Inscribed by a fighter jet on the optimistic space of blue sky, the ambiguity of the Anarchy symbol is heightened, its utopian ideals of universal understanding and autonomy becoming enmeshed with the implied threat of violence. Simultaneously, the order and discipline of a militaristic activity is co-opted into displaying the transgressive impulse that lies beneath its urge to destroy.
    • Choosers: designing a highly expressive algorithmic music composition system for non-programmers

      Bellingham, Matt; Holland, SImon; Mulholland, Paul (2017-09-11)
      We present an algorithmic composition system designed to be accessible to those with minimal programming skills and little musical training, while at the same time allowing the manipulation of detailed musical structures more rapidly and more fluidly than would normally be possible for such a user group. These requirements led us to devise nonstandard programming abstractions as the basis for a novel graphical music programming language in which a single basic element permits indeterminism, parallelism, choice, multi-choice, recursion, weighting and looping. The system has general musical expressivity, but for simplicity here we focus on manipulating samples. The musical abstractions behind the system have been implemented as a set of SuperCollider classes to enable end-user testing of the graphical programming language via a Wizard of Oz prototyping methodology. The system is currently being tested with undergraduate Music Technology students who are typically neither programmers, nor traditional musicians.
    • Choosers: The design and evaluation of a visual algorithmic music composition language for non-programmers

      Bellingham, Matt; Holland, Simon; Mulholland, Paul (Psychology of Programming Interest Group, 2018-09-06)
      Algorithmic music composition involves specifying music in such a way that it is non-deterministic on playback, leading to music which has the potential to be different each time it is played. Current systems for algorithmic music composition typically require the user to have considerable programming skill and may require formal knowledge of music. However, much of the potential user population are music producers and musicians (some professional, but many amateur) with little or no programming experience and few formal musical skills. To investigate how this gap between tools and potential users might be better bridged we designed Choosers, a prototype algorithmic programming system centred around a new abstraction (of the same name) designed to allow non-programmers access to algorithmic music composition methods. Choosers provides a graphical notation that allows structural elements of key importance in algorithmic composition (such as sequencing, choice, multi-choice, weighting, looping and nesting) to be foregrounded in the notation in a way that is accessible to non-programmers. In order to test design assumptions a Wizard of Oz study was conducted in which seven pairs of undergraduate Music Technology students used Choosers to carry out a range of rudimentary algorithmic composition tasks. Feedback was gathered using the Programming Walkthrough method. All users were familiar with Digital Audio Workstations, and as a result they came with some relevant understanding, but also with some expectations that were not appropriate for algorithmic music work. Users were able to successfully make use of the mechanisms for choice, multi-choice, looping, and weighting after a brief training period. The ‘stop’ behaviour was not so easily understood and required additional input before users fully grasped it. Some users wanted an easier way to override algorithmic choices. These findings have been used to further refine the design of Choosers.
    • Christian Mieves interviews Dana Schutz

      Mieves, Christian (Turps Banana, 2014)
    • Cinderella

      Arnott, Steve (London: Pollock’s Toy Theatres Ltd, 2007)
      Working with Pollock’s Toy Museum, this animation draws upon the traditions of toy theatre through the means of digital media and reinterpretation for a modern audience. The piece also contributes to the on going digitization of the Museum’s archive. The animation seeks to challenge traditional themes of narrative structure through the use of digital media. The visuals, although influenced by 19th Century designs and rendered into a three dimensional effects with depth and lighting. The work follows on from that done with “Ali Baba and the forty Thieves.” The text is adapted from the 1844 version of John Kilby Green (1790 -1860) – the story explores notions of the relationship between royalty and the public and echoes events in Britain and Europe during the 20th Century.
    • Circulating Sclerostin responses to acute weight and non weight bearing sport activity in pre adolescent males

      Jamurtas, Athanasios Z; Leontsini, Diamanda; Avloniti, Alexandra; Vlachopoulos, Dimitris; Stampoulis, Theodoros; Chatzinikolaou, Athanasios; Gracia-Marco, Luis; Ubago-Guisado, Esther; Makris, Konstantinos; Tournis, Symeon; et al. (Ovid Technologies (Wolters Kluwer Health), 2017-05-01)
      Mechanical loading, i.e. physical activity and/or exercise, promotes bone formation during growth. Sclerostin, a glycoprotein, mediates osteocytes' response to mechanical loading by inhibiting the Wnt/lf-catenin pathway thereby inhibiting bone formation.
    • CIRCUS for Beginners

      Boehm, Carola; Patterson, John (2001)
      This paper describes “Content Integrated Research in Creative User Systems” (CIRCUS), a working group of the ESPRIT programme of the European Union; describing its origins, its main concerns, and viewing some of its conclusions. The paper examines the distinction between the practice-based art and design community and the more knowledge-based computer technology community. The CIRCUS research agenda has been led by the concept of creative pull, a concept which gives priority, even control, to the creative maker or user in the development of technological capability. The paper examines the working group and its focus on this concept and how to support it through technological means.
    • Collected Satires III: Complete Longer Satires

      Colbert, Benjamin (London: Pickering & Chatto Publishers, 2008)
      British Satire, 1785–1840 is published in a 5 volume set. Despite the fact that Romantic period literary satire has received much critical attention, there has up to now been no scholarly collection devoted to this body of work. This set provides one, offering a representative collection of the verse satire published between the mid-1780s and the mid-1830s. It makes available a wealth of fascinating, rare and hitherto unedited material and provides the annotation necessary to a full appreciation of the complexities of the period's satire. The set also includes two important single-author volumes, the first scholarly editions of the satires of William Gifford and Thomas Moore, as well as lesser known and anonymous works.