• Walking on Ostrich Eggshells

      Miller, Candi; Bidwell, Nicola; Winschiers-Theophilus, Heike (Informing Sciences Institute, 2014-09-01)
    • Warde (née Becker), Beatrice Lamberton Becker (1900–1969)

      Glaser, Jessica (Oxford University Press, 2019-03-30)
      Warde (née Becker), Beatrice Lamberton Becker (1900–1969), typographer, was born in New York, USA, on 20 September 1900, the only child of Gustav Becker (1861–1959), pianist and composer, and his wife, May, née Lamberton (1873–1958), the journalist and literary critic ...
    • Well-making: co-building pathways for empathy

      Hackney, Fiona (AHRC, 2018-04-14)
      This one day interactive workshop at the Wellcome Collection in London 2017 explored new research on inclusive design and empathy with a particular focus on how maker spaces might be better understood as ‘well-making spaces’: spaces of empathy that promote health and wellbeing. The event included a keynote by Professor Lizbeth Goodman, Chair of Creative Technology Innovation at University College Dublin, founder/director of the SMARTlab and MAGIC (Multimedia and Games Innovation Centre) about her international research and current European Horizon 2020 project. Other participants included, among others: Simon Duncan (Boing Boing: Resilience Research and Practice), Dr Anni Raw (School of Applied Social Sciences, University of Durham), Mah Rana (Artist and research student University College London), Jayne Howard (Director Arts Well) and Karl Royale (Head of Enterprise and Commercial Development University of Wolverhampton), Ben Salter (Course Leader Interior Design Norwich University of the Arts), a diverse interdisciplinary group of designers and design researchers, arts and crafts practitioners, social scientists, arts for health organisations, community partners, and health researchers
    • What will survive us? Sigurd Leeder and his legacy

      Lidbury, Clare (Society of Dance History Scholars, 2017-04-30)
      What was it about a single gesture by Peter Wright that made me exclaim “He must have studied with Leeder” (BBC TV 1988). What I had seen was a ‘central movement’ of the arm which Wright was using to demonstrate a possible intention for a reaching gesture. ‘Central movement’ is very distinctive and rarely performed, in my experience, by those who have not had some contact with the Jooss-Leeder training. In fact Wright had worked with Sigurd Leeder from 1944-47 receiving his first dance training and performing experience as an apprentice travelling with the Ballets Jooss on tour in the UK (Wright, 1993). Subsequently Wright studied and worked with many other teachers, mostly in classical ballet, and went on to play a significant part in the development of British Ballet in the second half of the twentieth century. Some 40 years on, having experienced and embraced it, that work with Leeder was still clearly imprinted in Wright’s body.
    • When Sally Met Harry: a fictocritique on the use of tablet readers for indigenous knowledge transfer

      Miller, Candi; Bassett, Caroline; Burns, Ryan; Glasson, Russell; O'Riordan, Kate (Falmer: REFRAME BooksSussex, GB, 2015-03-03)
    • Where is the work?

      Cornford, Matthew; Cross, David (2005)
      For “Where is the Work?” the artists produced photographs and texts, which explicate and attempt to stabilize a body of ephemeral, context-specific work. Cornford and Cross acted as artists, curators, instigators, designers and authors. The exhibition site itself is the work, the transgression is found in the decision to critically articulate and institutionally validate this work through a touring exhibition, publication and website. The touring exhibition and website constitute a key development of investigation by Cornford & Cross into the relationship between artistic collaboration, social engagement and site-specific installation. Their art practice leads from the proposition that a key function of contemporary art is to test concepts, assumptions and boundaries in everyday life. The touring show made visible the widest range of projects by the artists and included realized and unrealized projects, with the intent to engage a variety of audiences in reflection and debate.
    • Whitegold

      Shaw, Vicky (2005)
      Shaw produced three variations of bowl forms, with precise patterns juxtaposed against bold background colours for “Whitegold”, an international exhibition of commissioned work in porcelain. Based on previous work, this commission enabled Shaw to develop a new strategy for complex pattern making based on building up intricate layers of colour through screen-printing. While pursuing the juxtaposition of colour and form, which is the signature of her work, Shaw used the new patterning process to develop a new aesthetic for her work, metaphorically referencing domestic table settings.
    • Who makes revolution in the age of speculative design?

      Chukhrov, Keti (European University at Saint-Petersburg, 2018-12-28)
      Contemporary theories of social emancipation contend that it is time to dispense with the concept of revolution and leave it merely as the legacy of political struggles belonging to the age of industrial economy. Today’s globalization, semio-capital, speculative design, crypto-economy, and artificial intelligence would engage epistemologically different emancipatory lexicons and techniques of resistance. All new futurisms posit technological solutions for hitherto political stakes. What remains unheeded in them is the existential need for cognitive equality and social continuity with the masses in constructing the collective subject of emancipation. Recent election results in the U.S., U.K., Eastern Europe, and Russia diagnose an immense cognitive rupture between the producers of emancipatory lexicons and disadvantaged workers. Such a split between mind and body was already made apparent in Hegel’s dialectics of lord and bondsman. In order to surpass this split, it is of utmost importance to reconsider the conditions in which the premature construction of the proletariat took place in the context of the October revolution. The proletariat was posited in this case not only as revolutionary subject, but as the principal subject of Enlightenment as well.
    • Whoever pays the piper calls the tune: Kurt Jooss, public subsidy and private patronage

      Lidbury, Clare (Edinburgh University Press, 2018-05-31)
      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.
    • Whole body interaction in abstract domains

      Holland, SImon; Wilkie, Katie; Bouwer, Anders; Dalgleish, Mat; Mulholland, Paul; England, David; England, David (Springer Verlag, 2011)
      Whole Body Interaction appears to be a good fit of interaction style for some categories of application domain, such as the motion capture of gestures for computer games and virtual physical sports. However, the suitability of whole body interaction for more abstract application domains is less apparent, and the creation of appropriate whole body interaction designs for complex abstract areas such as mathematics, programming and musical harmony remains challenging. We argue, illustrated by a detailed case study, that conceptual metaphor theory and sensory motor contingency theory offer analytic and synthetic tools whereby whole body interaction can in principle be applied usefully to arbitrary abstract application domains. We present the case study of a whole body interaction system for a highly abstract application area, tonal harmony in music. We demonstrate ways in which whole body interaction offers strong affordances for action and insight in this domain when appropriate conceptual metaphors are harnessed in the design. We outline how this approach can be applied to abstract domains in general, and discuss its limitations.
    • Why Read the Classics?

      Cornford, Matthew (2005)
      Why Read the Classics? is a work made around a damaged classical statue in the Villa Aldobrandini, a public garden in Rome. A flight of stone steps leads past ancient ruins up to palms and orange trees, in a garden, which though beautiful, is rather used and neglected. Near the top of the stairway stands the marble figure of a young woman, on a pedestal in an alcove in the wall. Like so many statues in Rome, the head of the figure is missing. Behind the space of the figure’s head we hung a golden disc, of the kind used to reflect light onto the faces of actors and models. Opposite the figure we installed a powerful film and television lamp, so its beam of light reflected onto the disc and created an aura or halo. Visitors to the garden where confronted by the dazzling light shinning from the iconic vision of a mythical woman. Yet the lamp and electrical cables that produce the light anchored the scene firmly in the present. Later, the work will exist as a pair of still photographs which will formulate a relationship between the fragment and its setting of loss and decline. In Why Read the Classics? three conceptions of femininity converge: the classical goddess, the Christian Madonna, and the contemporary film star. ‘Why Read the Classics?’ is the title of a book by the great
    • Widening access, narrowing curriculum: is the expectation of software training changing the culture within visual communications higher education?

      Marshall, Lindsey (Institute of Electrical and Electronics Engineers (IEEE), 2005)
      Increasingly, students entering visual communications courses seem to expect training in industry-standard software to make up the majority of course content. This is seen as the source of some tension between visual communication design educators and government/university policies for widening participation. It may also be related to the perceived need for graduate employees to have knowledge of industry standard software prior to employment. There has been a rise in the number of students applying to study visual communications since the introduction of desktop publishing in the 1980s. This, together with a more diverse student profile has created differing student expectations and a change in the culture of visual communications higher education courses. Widening participation policies have facilitated an increase in recruitment both directly from sixth form study (post 16 year old) and from an increasing ethnically diverse background from the UK, Europe and internationally, rather than through UK based traditional preparatory courses. These factors place pressure on existing curricula, and may lead to a narrowing of content as a deficit in prior learning and understanding has to be accounted for. Student expectation of software training together with the vocational nature of visual communication design courses may lead to courses becoming predominantly software oriented. In the context of the implementation of government widening participation policy, this may result in the reduction of courses to technological skill provision. In order to identify any tension between student expectation and course content, staff perceptions of student requirements have been compared to their perceptions of the purpose of an education in visual communications.
    • Wired 2

      Wood, Karen; Say, Genevieve; Lycett, Ben (Arts Council England, 2014-05)
    • Wiring the ear: Instrumentality and aural primacy in and after David Tudor’s Unstable Circuits

      Dalgleish, Mat (2016-09-21)
      The early 20th century saw a spate of innovative electronic musical instruments. For instance, the theremin (1919) and Ondes Martenot (1928) not only offered new sound generation techniques, but married them to similarly innovative means of interaction. However, by the late 1920s, the development of novel performance interfaces had stalled, and the familiar organ-type keyboard re-appeared on many electronic instruments of the 1930s (Manning 2004, pp. 4-6). Moreover, as the era of the tape-based studio began postwar, the link between electronic music and live performance seemed to recede (Ibid., pp. 19-74). Compared to the limited timbres of most earlier electronic instruments, the sound creation and manipulation possibilities of tape were more sophisticated. However, splicing together even a short piece could take months of toil. Thus, by the mid-1960s, a number of real-time alternatives had emerged, from Stockhausen’s electronic processing of acoustic instruments, to the modular synthesizer, and the live electronics of David Tudor.
    • Woman Appeal. A New Rhetoric of Consumption: Women’s Domestic Magazines in the 1920s and 1930s

      Hackney, Fiona; Clay, Catherine; DiCenzo, Maria; Green, Barbara (Edinburgh University Press, 2017-12-31)
      When in 1926 two brothers from South Wales, William and Gomer Berry, struck a deal to acquire the entire business of the Amalgamated Press (AP), they took on the mantle of ‘Britain’s leading magazine publishing business,’ after the untimely death of AP owner and press magnate, Alfred Harmsworth (Lord Northcliffe) (Cox and Mowatt 2014: 60–3). The continued importance of magazines aimed at the female reader for the Berry’s empire was emphasised by William in his first speech as chairman, and in the coming years a host of new titles including Woman and Home, Woman’s Journal, Woman’s Companion, Wife and Home, Woman and Beauty and Home Journal were added to established staples such as Home Chat, Women’s Pictorial, Woman’s World and Woman’s Weekly. The launch of over fifty titles by AP and its rivals Newnes and Pearson, and Odhams Press, put women and their magazines at the forefront of popular publishing in the interwar years. By the end of the 1930s Odhams Press, under the direction of its dynamic managing director Julias Elias (Lord Southwood), had usurped the AP’s position with its innovative publication Woman, which brought the visual appeal of good quality colour printing to a tuppeny weekly, something that previously had only been available in expensive, high-class magazines. The interwar years witnessed expansion and consolidation, struggle and innovation as these publishing giants competed to command the lucrative market for women’s magazines.
    • 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, 2020-07-17)
      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.
    • Worlds turned back to front: the politics of the mirror universe in Doctor Who and Star Trek

      Byrne, Aidan; Jones, Mark (Intellect, 2018-06-01)
      It is a curious parallel that unquestionably the most successful science fiction television series to emerge from the UK and the US both began in the 1960s, endured lengthy hiatuses, oscillated between mainstream and cult appreciation, and both currently revel in their cross-media commercial appeal. Doctor Who (1963-89, 2005-present) and Star Trek (1966-9), through their lengthy broadcast histories, might be used to chart any number of cultural shifts in their host communities. Far from being abstruse and introspective creations of geeky fandoms, both have been central to the popular culture of their respective societies – Matt Hills noted that ‘for much of its cultural life Doctor Who has actually occupied the mainstream of British television programming’ (Hills 2010: 98); John Tulloch’s and Henry Jenkins’ examination of science fiction audiences make it clear that in creating Star Trek Gene Roddenberry evinced a ‘desire to reach a mass viewership and a desire to address the burning social issues of the day’ (Jenkins and Tulloch 1995: 7). Popular television in general has always been a prime site for the exploration of pressing social concerns (Williams 1974: 58), and science fiction is also often politically engaged: Hassler and Wilcox point out that ‘[p]olitical science often addresses many of the same questions as those raised in science fiction…the role of the state…the nature of the just society’ (Hassler and Wilcox 1997: 1). Doctor Who and Star Trek are both notable for openly or covertly addressing the distinctive social and political problems faced by their respective societies. Star Trek returned to the question of the Vietnam War’s legitimacy multiple times (Franklin 2000: 131-50), ‘and other episodes were commentaries on race relations, feminism, and the hippies of the 1960s’ (Reagin 2013: 2). Under Russell T. Davies’ revival Doctor Who continually referenced the ‘war on terror’ (Charles 2008), but the ‘classic’ serial also engaged with contemporary British politics: the Sylvester McCoy series were openly anti-Thatcherite (O’Day 2010: 271-8), while in the 1970s under producer Barry Letts many Doctor Who serials dealt with environmental issues and their politics (Orthia 2011: 26-30). The disparate political engagements present in Doctor Who are generally anti-authoritarian, and the Doctor ‘has consistently … [the] liberal-populist role in criticising “sectionalist” forces of “Left” and “Right”, and in rebuking the “official” and the powerful’ (Tulloch and Alvarado 1983: 52). This pragmatic politics, however, was not available to Star Trek, which ‘was created as a style of social commentary, intent on criticising America in the late 1960s during a period of extreme social and political turmoil’, and therefore wrestling with the contradictions between the philosophical absolutes of American exceptionalism and ‘manifest destiny’ (Geraghty 2007: 72).
    • 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.
    • Yoga jam: remixing Kirtan in the Art of Living

      Jacobs, Stephen (University of Toronto Press, 2017-03-17)
      Yoga Jam are a group of musicians in the United Kingdom who are active members of the Art of Living, a transnational Hindu-derived meditation group. Yoga Jam organize events—also referred to as yoga raves and yoga remixes—that combine Hindu devotional songs (bhajans) and chants (mantras) with modern Western popular musical genres, such as soul, rock, and particularly electronic dance music. This hybrid music is often played in a clublike setting, and dancing is interspersed with yoga and meditation. Yoga jams are creative fusions of what at first sight seem to be two incompatible phenomena—modern electronic dance music culture and ancient yogic traditions. However, yoga jams make sense if the Durkheimian distinction between the sacred and the profane is challenged, and if tradition and modernity are not understood as existing in a sort of inverse relationship. This paper argues that yoga raves are authenticated through the somatic experience of the modern popular cultural phenomenon of clubbing combined with therapeutic yoga practices and validated by identifying this experience with a reimagined Vedic tradition.