• Kantian forgiveness: fallibility, guilt and the need to become a better person: reply to Blöser

      Satne, Paula (Springer Science and Business Media LLC, 2020-03-10)
      In ‘Human Fallibility and the Need for Forgiveness’, Claudia Blöser (Philosophia 47:1-19, 2019) has proposed a Kantian account of our reasons to forgive that situates our moral fallibility as their ultimate ground. Blöser argues that Kant’s duty to be forgiving is grounded on the need to be relieved from the burden of our moral failure (guilt), a need that we all have in virtue of our moral fallible nature, regardless of whether or not we have repented. Blöser claims that Kant’s proposal yields a plausible account of the normative status of forgiveness. Kant classifies the duty to be forgiving as a wide (imperfect) duty of virtue, and according to Blöser, this means that Kantian forgiveness is elective in the sense that forgiveness is good in general (i.e. an attitude that we have moral reason to adopt) but without being obligatory in each particular case. In the course of presenting her own reconstruction of Kant’s account, Blöser also objects to some aspects of an interpretation of Kant’s theory of forgiveness which I had previously defended in my paper ‘Forgiveness and Moral Development’ (Philosophia 44:1029–1055, 2016). Although there are a lot of points of agreement between our interpretations, the aim of this article is to highlight four key points of disagreement. These issues are worth discussing because they have implications not only for a plausible interpretation of a recognisable Kantian account of forgiveness but also for wider debates in the contemporary literature on forgiveness. First, I show that Kant is not committed to a form of weak situationism as suggested by Blöser and that Kant’s grounding of the duty to be forgiving does not appeal to moral luck. Second, I argue that although Kant’s duty to be forgiving is elective in one sense of the term, it is not elective in another important sense of the term, and that it is in fact better not to interpret Kantian imperfect duties as being elective. Third, I show that awareness of moral fallibility per se does not provide a morally appropriate ground for forgiveness and offer an alternative reconstruction of Kant’s account- in which fallibility plays a role, but it is not the main reason to forgive. Finally, I argue that Blöser’s account of the need to be forgiven is not recognisable Kantian because, from a Kantian perspective, repentance is a necessary condition for the desirability and, in fact, the very possibility of ameliorating our own guilt.
    • Kinesthetic Empathy: Conditions for Viewing

      Wood, Karen; Rosenberg, Douglas (Oxford University Press, 2016)
      The Oxford Handbook of Screendance Studies offers a full overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. The Oxford Handbook of Screendance Studies features newly-commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and video-makers, dance artists, screendance artists, academics and writers, producers, composers, as well as the wider interested public. It will become an invaluable resource for researchers and professionals in the field.
    • Kiss, Kiss, Kiss / Democracy

      Aycliffe, Margaret (2003)
      Submitting work to “Sample” & “The Art of the Stitch”, Ayliffe was selected by a panel of artists and museum curators amongst a field of 430 international artists. Ayliffe contributed two paintings “Kiss, Kiss, Kiss” (152 x183cm) and “Democracy” (152 x183cm) (oil, gloss-paint and digiprint on canvas) for the exhibition. Ayliffe’s paintings have previously deployed hand-stitching in both functional and performative roles to signify intense, repetitive labour as a reflection on the historically female pursuits of embroidery, patchwork and the decorative arts. In “Sample”, this is expanded through the development of technical and formal strategies able to question and disrupt the cultural values attached to different types of mark making. For this work Ayliffe created simple cross-stitch embroideries that were photographed, digitally manipulated, then enlarged and printed onto canvas. Digital images were collaged onto the surface and employed alongside hard edge/painted geometric patterns and repeated gestural marks in an attempt to upset normalised, hierarchical readings of media, mark and gesture. The painted gesture is endlessly and exactly repeated while the stitches, enlarged and digitised, take on the characteristics of the painterly gesture.
    • Landscape, Ecology, Art and Change

      Collins, Tim; Goto, R. (Routledge (Taylor & Francis), 2003)
      The chapter expands the understanding of what urban means in relationship to nature and ecology, by examining a broad range of interdisciplinary thinkers. The collaborators explore the idea of “radical ecologies,” new ideas in the philosophy of the environment that can inform the work of artists interested in cities and the environment. The text provides a brief history of land preservation and conservation and the move toward land and ecosystems restoration. This is juxtaposed against the artists move into the landscape in sculpture and then toward ecosystems and more recently environmental planning. The juxtaposition leads to a synthesis resulting in a set of goals and objectives for a new integration of art in relationship to social and ecological issues. Researched by Collins, then discussed, jointly written and edited with a collaborator of twenty years. The chapter constructs a narrative of applied ecologies, cultural ecologies and emergent ideas in art and radical (socially transformative) approaches to ecology. The text examines the potential for emergent ideas in an ‘ecology of health’ to reconfigure dominant paradigmatic understandings of humanity and nature in aesthetic, social, political and legal terms. The role of art in this project is to be an intellectually catalytic force that works across disciplines and foundations of knowledge.
    • Language matters: a linguist’s view on medicine

      Galasinski, Dariusz (BMJ Publishing Group, 2017-08-26)
      Language matters. I have seen this simple statement more times than I care to remember. It is used by patients, nurses, psychologists, doctors and many other healthcare professionals. In this editorial I would like to offer a view of what a statement means to a linguist. And so, first, what we say does not just mean, it means something in a particular context; second, even more importantly, language does not consist only of words, and this is why medicine and medics should focus on their ‘way of speaking’.
    • The Last Ship from Broadway to Newcastle: A feminist political musical for the Brexit era

      Browne, Sarah (Intellect, 2018-12-01)
      Sting’s musical, The Last Ship premiered on Broadway in 2014. Four years later, following a series of workshops at Northern Stage, the musical embarked on its UK tour featuring a number of revisions to its narrative and structure. What emerges from the revised production is a narrative, which places women at the centre through affording them agency and allowing them to occupy powerful, liminal spaces. Whilst The Last Ship remains a tale for the working classes, its UK revisions do well to reposition the central role of the women in this community. Through removing principal characters, which previously served to reinforce a patriarchal hierarchy, the fictional women of Wallsend now drive the plot, allowing for The Last Ship to communicate a morality tale, which echoes the ideologies of a feminist, post-Brexit era.
    • Laughing one's head off in Spanish subtitles: a corpus-based study on diatopic variation and its consequences for translation

      Corpas Pastor, Gloria; Mogorrón Huerta, Pedro; Albaladejo-Martínez, Antonio (John Benjamins, 2016)
    • Layout: Making it fit, finding the right balance between content and space

      Glaser, Jessica; Knight, Carolyn (USA: Rockport Publishers, 2003)
      The research examines how graphic designers find the right balance between content and space within the two challenging page environments. The research also asks if graphic designers use composition to significantly influence the visual message, in terms of tone of voice, target market and audience appeal, and what linguistic structures can be applied to visual structures in visual communication, in order to analyse and appreciate message and meaning. Dialogue with international designers was the primary source of data to inform, support and illustrate this book, which is both written and designed by the authors to ensure control over verbal and visual interpretation. The researchers work within the area of 2D/visual communications. Glaser’s contribution is based on her experience as a design practitioner and senior lecturer in graphic design and layout. Knight’s individual contribution stems from her post graduate study in linguistics.
    • ‘Learn To Do It’ – performer training across the pedagogies

      Chandler, Clare; Griffiths, Rachel (TaPRA, 2018-09-05)
    • “Let me be part of the narrative” – The Schuyler Sisters ‘almost’ feminist?

      Chandler, Clare (Taylor & Francis, 2018-10-11)
      Lin Manuel Miranda’s Hamilton: An American Musical (Hamilton) (2015) has tapped into the current cultural moment, lauded as the ‘saviour of Broadway’.1 The show’s unique tour de force is the use of hip-hop to convey the story, reigniting the genre and attracting a new musical theatre audience. This musical idiom combined with Hamilton’s colour conscious casting has allowed Miranda to create ‘the story of America then told by America now’2 exposing to critical view the whitewashing of history and the more questionable legacies of the Founding Fathers of America. The show is inescapable, dominating social media through its innovative #Ham4Ham and #Hamildrop initiatives.3 Television shows are even cashing in on Hamilton’s cultural currency with references to the show appearing in Brooklyn Nine Nine, Grey’s Anatomy, and Gilmore Girls (amongst others) as well as talk shows such as The Late Show. With so much exposure it is hard not to get swept up in the hype surrounding the musical.
    • Leviathan’s Slumber

      Payne, Alistair (2005)
      Derived from Payne’s continuing search for a new interdisciplinarity within painting, “Leviathan’s Slumber” is an installation comprising four circulating pumps, food colouring, water, 180 metres of 4cm transparent tubing and a central reservoir. This follows a methodology of ‘folds and flows’ derived from the philosophy of Gilles Deleuze, which Payne developed in his doctoral thesis to present a new and dynamic method for painting practice, arguing that painting retains its formal particularity yet shifts its physical and spatial characteristics across different mediums.
    • A life in balance: Sattvic food and the art of living foundation

      Jacobs, Stephen (MDPI, 2018-12-21)
      Many modern forms of yoga can be located in the holistic milieu. Discourses of health and wellbeing for mind, body and soul are central in the holistic milieu. Ideas about food and diet are frequently significant aspects of this therapeutic discourse. This paper focuses on ideas about food and diet in the Art of Living Foundation (AOL), a modern transnational yoga movement. AOL legitimises its beliefs about food through an appeal to concepts found in traditional texts on yoga and ayurveda. ¯ In particular, the concept of sattva, which can be translated as balance or harmony—both significant tropes in the holistic milieu—is central to discourses about food choices in AOL and other writers in the holistic milieu.
    • Light and Paint (art exhibition)

      Sherwin, Guy (2017-03)
      Light & Paint is a return to Guy Sherwin’s early practices where acrylic painting is animated by projected light. Colours in the hand-painted mural, measuring 9 metres by 3.3 metres, are affected by the changing coloured light of digital projection. You can see a time-lapse film of the installation here:
    • Light Cycles

      Sherwin, Guy (Christine Park Gallery, 2016-02-02)
    • Lights Go On. The song of the nightclub cloakroom attendant

      Rooney, Paul (2002)
      In a single screen 2 minute video projection with sound, rather than using conventional documentary approaches, which emphasize the importance of the words and presence of the subject in real-time on screen, Rooney ‘re-narrativizes’ the words of his subjects (in this instance a cloakroom attendant), by re-scripting them and having them spoken by others. In this he tries to create a space which enables the viewer to imaginatively engage with what that individual’s experience is like, while also making them aware of the limits of that imaginative reach.
    • Line & Surface

      Harris, Simon J.; MacIver, Steven; Dubrey, Henrietta; Beattie, Mark (Sarah Wiseman Gallery, 2016-06-11)
      An exhibition examining the work of Simon J Harris, Steven MacIver, Henrietta Dubrey and Mark Beattie, making connections across the fields of painting and sculpture. Simon J Harris paintings have a cinematic presence and are concerned with the idea of abstraction and place emphasis on interaction between the viewer and the surface of the artwork. Having recently completed his PhD in Fine Art Practice to high critical acclaim, Simon has thrown himself into an extraordinarily refined approach to his artistic practice. Working with intensely pigmented layers of oil on fine linen, he 'traps' the image in between the layers of the paint, creating a sumptuous high-gloss finish just like a piece of celluloid film. His paintings are large-scale with a potent, awe-inspiring presence.
    • Linguistic Landscape as a tool for the analysis of linguistic situation and language policies in post-Soviet space

      Moore, Irina (MAPRYAL - International Association of Russian Language Teachers, 2015)
    • Linguistic, ethnic and cultural tensions in the sociolinguistic landscape of Vilnius: a diachronic analysis

      Moore, Irina; Pütz, Martin; Mundt, Neele (Multilingual Matters, 2018-12-20)
    • London Road: the ‘irruption of the real’ and haunting utopias in the verbatim musical

      Zavros, Demetris; Rodosthenous, George (Routledge, 2017-08-15)
      The use of documentary material appeared in musical theatre at least as far back as Joan Littlewood's Oh! What a Lovely War, but it was not until London Road when the potential for a more experimental approach to the 'setting' of verbatim material was used in musical theatre. This chapter offers a slightly alternative perspective into the performance based on the belief that 'the reworking of speech into sung tunes' does not signal an absence as much as an 'irruption of the real' as discussed by Lehmann. It compares the stage and film versions of the musical in relation to their contiguity to the 'real' vs a utopian sensibility that accompanies the more traditionally escapist approaches to the film musical. The film audience becomes less able to viscerally and experientially appreciate the connection between the original and the aesthetic reconstitution that Lehmann so profoundly connects to the 'irruption of the real' in performance.