I know what I know (but how do I know what I don’t?)

An important support function of Making All Voices Count South Africa is to design, plan and facilitate community of practice gatherings for sustained learning and sharing across Making All Voices Count grantees. This report aims to capture the content of a one-day Making All Voices Count South African Community of Practice (CoP) Meeting held in November 2016. The South African MAVC CoP has been running for three years and has met between two and four times a year. It is a space for MAVC grantees and others working to foster innovation in the fields of transparency and accountability, to share experiences and knowledge, and collaborate in learning and improving work.DFIDUSAIDSidaOmidyar Networ

I Know What I Like and I Like What I Know

A book review of Mario Gammetti's Genesis 1976 to 1975: The Peter Gabriel Years (Kingmaker

‘I understood the words but I didn’t know what they meant’: Japanese online MBA students’ experiences of British assessment practices

We report on a case study of high Japanese student failure rates in an online MBA programme. Drawing on interviews, and reviews of exam and assignment scripts we frame the problems faced by these students in terms of a ‘language as social practice’ approach and highlight the students’ failure to understand the specific language games that underpin the course assessment approach. We note the way in which the distance learning and online context can make the challenges faced by international students less immediately visible to both students and institution

I know what I like...

A book review of A New Day Yesterday: UK Progressive Rock & the 1970s by Mike Barnes (Faber, £20

You Know What I Mean

https://digitalcommons.library.umaine.edu/mmb-vp/4675/thumbnail.jp

I dont know what Im looking for but I'll know it when I see it

The cultural geographer and philosopher David Harvey suggests that, like space and time, place is a social construct, and the only interesting question left to be asked on the subject is by what social process(es) is place constructed? This paper sets out to explore the construction methods employed by contemporary visual artists for whom place is central to their practice. Specific approaches are historically retraced revealing our understanding and desire to explore methods of representing place, and how this enquiry has influenced our renewed contemporary interest and understanding of place. It is not possible to separate any study of place from that of space, as both are intrinsically linked and are often interchangeable in literature and speech. It, therefore, becomes important to explore this relationship in some depth. The representation of place adheres to many social and political forces, which form it and continue to condition our understanding of place. If place functions as a manifestation of those associations, then by extension, the space experience of an artwork could be said to reside within the realm of place; space by virtue of our experience of it, of what we bring to it, is afforded the significance of place. Through the study of particular artists and artworks such as Antony Gormley’s, Angel of the North (Gateshead) and Jeremy Deller’s, Battle of Orgreave (Sheffield), two similar in theme but very different approaches to place making and representation of place are considered. The paper also allows for thoughts to emerge and be tested on the role serendipity and sagacity has had on the formulation and reception of these works. Both artworks created a great deal of heated public debate at the time and continue to do so, and thus, have generated a great deal of community engagement that questions and interrogates the idea of place