7,245 research outputs found

    Consent and the Construction of the Volunteer: Institutional Settings of Experimental Research on Human Beings in Britain during the Cold War

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    This study challenges the primacy of consent in the history of human experimentation and argues that privileging the cultural frameworks adds nuance to our understanding of the construction of the volunteer in the period 1945 to 1970. Historians and bio-ethicists have argued that medical ethics codes have marked out the parameters of using people as subjects in medical scientific research and that the consent of the subjects was fundamental to their status as volunteers. However, the temporality of the creation of medical ethics codes means that they need to be understood within their historical context. That medical ethics codes arose from a specific historical context rather than a concerted and conscious determination to safeguard the well-being of subjects needs to be acknowledged. The British context of human experimentation is under-researched and there has been even less focus on the cultural frameworks within which experiments took place. This study demonstrates, through a close analysis of the Medical Research Council's Common Cold Research Unit (CCRU) and the government's military research facility, the Chemical Defence Experimental Establishment, Porton Down (Porton), that the `volunteer' in human experiments was a subjective entity whose identity was specific to the institution which recruited and made use of the subject. By examining representations of volunteers in the British press, the rhetoric of the government's collectivist agenda becomes evident and this fed into the institutional construction of the volunteer at the CCRU. In contrast, discussions between Porton scientists, staff members, and government officials demonstrate that the use of military personnel in secret chemical warfare experiments was far more complex. Conflicting interests of the military, the government and the scientific imperative affected how the military volunteer was perceived

    The place where curses are manufactured : four poets of the Vietnam War

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    The Vietnam War was unique among American wars. To pinpoint its uniqueness, it was necessary to look for a non-American voice that would enable me to articulate its distinctiveness and explore the American character as observed by an Asian. Takeshi Kaiko proved to be most helpful. From his novel, Into a Black Sun, I was able to establish a working pair of 'bookends' from which to approach the poetry of Walter McDonald, Bruce Weigl, Basil T. Paquet and Steve Mason. Chapter One is devoted to those seemingly mismatched 'bookends,' Walt Whitman and General William C. Westmoreland, and their respective anthropocentric and technocentric visions of progress and the peculiarly American concept of the "open road" as they manifest themselves in Vietnam. In Chapter, Two, I analyze the war poems of Walter McDonald. As a pilot, writing primarily about flying, his poetry manifests General Westmoreland's technocentric vision of the 'road' as determined by and manifest through technology. Chapter Three focuses on the poems of Bruce Weigl. The poems analyzed portray the literal and metaphorical descent from the technocentric, 'numbed' distance of aerial warfare to the world of ground warfare, and the initiation of a 'fucking new guy,' who discovers the contours of the self's interior through a set of experiences that lead from from aerial insertion into the jungle to the degradation of burning human feces. Chapter Four, devoted to the thirteen poems of Basil T. Paquet, focuses on the continuation of the descent begun in Chapter Two. In his capacity as a medic, Paquet's entire body of poems details his quotidian tasks which entail tending the maimed, the mortally wounded and the dead. The final chapter deals with Steve Mason's JohnnY's Song, and his depiction of the plight of Vietnam veterans back in "The World" who are still trapped inside the interior landscape of their individual "ghettoes" of the soul created by their war-time experiences

    The Adirondack Chronology

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    The Adirondack Chronology is intended to be a useful resource for researchers and others interested in the Adirondacks and Adirondack history.https://digitalworks.union.edu/arlpublications/1000/thumbnail.jp

    Z Force on the Ground: The Canadian Deployment to Iceland, 1940-41

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    The date of 10 May 1940 is well known for the start of the German blitzkrieg and the end of Neville Chamberlain’s tenure as British Prime Minister. That fateful day also opened a chapter in Canada’s war story that, in the end, saw more than 2,600 Canadian servicemen deployed to far-away but strategic Iceland. The Canadian commitment to that remote island from June 1940 to April 1941 was a metaphoric stepping-stone in the long Allied struggle against the Axis powers in the North Atlantic, building what ultimately became a secure strategic bridge for the deployment of the forces that liberated Europe

    Platform protocol place: a practice-based study of critical media art practice (2007-2020)

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    This practice-based research project focuses on critical media art practices in contemporary digital culture. The theoretical framework employed in this inquiry draws from the work of the Frankfurt School, in particular Theodor Adorno and Max Horkheimer’s The Culture Industry: Enlightenment as Mass Deception. Using Adorno & Horkheimer’s thesis as a theoretical guide, this research project formulates the concept of the digital culture industry - a concept that refers to the contemporary era of networked capitalism, an era defined by the unprecedented extraction, accumulation and manipulation of data and the material and digital infrastructures that facilitate it. This concept is used as a framing mechanism that articulates certain techno-political concerns within networked capitalism and responds to them through practice. The second concept formulated within this research project is Platform Protocol Place. The function of this second concept is to frame and outline the body of practice-based work developed in this study. It is also used to make complex technological issues accessible and to communicate these issues through public exhibition and within this written thesis. The final concept developed in this research project is tactical media archaeology. This concept describes the techniques and approaches employed in the development of the body of practice-based work that are the central focus of this research project. This approach is a synthesis of two subfields of media art practice and theory, tactical media and media archaeology. Through practice, tactical media archaeology critiques the geopolitical machinations and systems beneath the networked devices and interfaces of the digital culture industry

    Blockchain Use Cases and Concepts in Sports: A Systematic Review

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    Blockchain innovations such as digital fan tokens and non-fungible tokens (NFTs) have garnered notable attention in the sports industry, yet the wider industry is struggling to keep up with the pace of digitalization. To harness the potential of blockchain technology, sports management practitioners and information systems (IS) researchers need to gain a much better understanding. Hence, the purpose of this study is to advance the theoretical understanding of blockchain in the sports sector. Thereby, we identify, consolidate, and classify blockchain use cases in the domain through a thorough review of the literature published to date. In addition, we (1) provide an overview and classification of blockchain use cases, (2) identify various opportunities for internal and external stakeholders to benefit from blockchain technology, and (3) derive a theoretical concept for blockchain technology regarding its properties, applications, and stakeholders. Furthermore, we (4) propose beneficial directions for future research in this emerging field

    The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research.

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    This research addresses the current lack of opportunity within interdisciplinary arts practices for deep one-to-one relational encounters between creative practitioners operating in applied arts, performance, and workshop contexts with participant-subjects. This artistic problem is situated within the wider culture of pervasive social media, which continues to shape our interactions into forms that are characteristically faster, shorter, and more fragmented than ever before. Such dispersal of our attention is also accelerating our inability to deeply focus or relate for any real length of time. These modes of engaging within our technologically permeated, cosmopolitan and global society is escalating relational problems. Coupled with a constant bombardment of unrealistic visual images, mental health difficulties are also consequently rising, cultivating further issues such as identity ‘splitting’, (Lopez-Fernandez, 2019). In the context of the arts, this thesis proposes that such relational lack cannot be solved by one singular art form, one media modality, one existing engagement approach, or within a short participatory timeframe. Key to the originality of my thesis is the deliberate embodiment of a maternal experience. Feminist Lise Haller-Ross’ proposes that there is a ‘mother shaped hole in the art world’ and that, ‘as with the essence of the doughnut – we don’t need another hole for the doughnut, we need a whole new recipe’ (conference address, 2015). Indeed, her assertion encapsulates a need for different types of artistic and relational ingredients to be found. I propose these can be discovered within particular forms of maternal love; nurture; caring, and through conceptual relational states of courtship; intercourse; gestation, and birth. Furthermore, my maternal emphasis builds on: feminist, artist, and psychotherapist Bracha Ettinger’s (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaa’s (2012) views on sensing and feeling; child psychoanalyst Donald Winnicott’s (1971) thoughts on transitional phenomena and perceptions of holding. Such psychotherapeutic and phenomenological theories are imbricated in-action within my multimodal arts processes. Additionally, by deliberately not privileging the ocular, I engage all my project participants senses and distil their multimodal data through an extended form of somatic and artistic Interpretive Phenomenological Analysis (IPA), (Smith, Flowers, and Larkin, 2009). IPA usefully focuses on the importance of the thematic and idiographic in terms of new knowledge generation, with an analytical focus on lived experience. Indeed, whilst the specifics of the participants in my minor and major projects are unique, my research activates and makes valid, findings that are collectively beneficial to the disciplines of applied and interdisciplinary arts; the field of practice-based research, and beyond. My original contribution to new knowledge as argued by this thesis, comprises both this text exposition and my practice. This sees the final generation of a new multimodal arts Participatory Practice-Based Framework (PartPb). Through this framework, the researcher-practitioner is seen to adopt a maternal role to gently guide project participants through four phases of co-created multimodal artwork generation. The four participatory ‘Phases’ are: Phase 1: Courtship – Digital Dialogues; Phase 2: Intercourse – Performative Encounters; Phase 3: Gestation – Screen Narratives; Phase 4: Birth – Relational Artworks. The framework also contains six researcher-only ‘Stages’: Stage 1: Participant Selection; Stage 2: Checking Distilled Themes; Stage 3: Location and Object Planning; Stage 4: Noticing, Logging, Sourcing; Stage 5: Collaboration and Construction; Stage 6: Releasing, Gifting, Recruiting. This new PartPb framework, is realised within a series of five practice-based (Pb) artworks called, ‘Minor Projects 1-5’, (2015-16) and Final Major Project, ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), (2018). These projects are likewise shaped through action-research processes of iterative testing, as developed from Candy and Edmonds (2010) Practice-based Research (PbR) trajectory. In my new PartPb framework, Candy, and Edmonds’ PbR processes are originally combined with a form of Fritz and Laura Perl’s Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of ‘Feeling Architecture,’ which is procedurally proven to hold and carry both researcher and participants alike, safely, ethically, and creatively through all Phases and Stages of artefact generation. Specifically, my new multimodal PartPb framework offers new knowledge to the field of Practice-Based Research (PbR) and practitioners working in multimodal arts and applied performance contexts. Due to its participatory focus, I develop on the term Practice-Based Research, (Candy and Edmonds, 2010) to coin the term Participatory Practice-Based Research, (PartPbR). The unique combination of multimodal arts and social-psychological methodologies underpinning my framework also has the potential to contribute to broader Arts, Well-Being, and Creative Health agendas, such as the UK government’s Social Prescribing and Arts and Health initiatives. My original framework offers future researchers’ opportunities to further develop, enhance and enrich individual and community well-being through its application to their own projects, and, in doing so, also starts to challenge unhelpful art binaries that still position community arts practices as somehow lesser to higher art disciplines

    Tales of two houses : a comparative study between some Arab and British feminist novels

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    This thesis is a comparative study of some of the English feminist novels by Michele Roberts and Sara Maitland on the one hand, and some of the Arab feminist novels by Hanan AlShaykh and Ahdaf Soueif on the other. It consists of a general introduction and six chapters. The "General Introduction" deals mainly with the theoretical and methodological issues which have both informed and manifested in the analyses. It also includes some background information about the intellectual strands within a feminist discourse and a purview of the major issues as tackled by specifically feminist critics. Some of the basic objectives that the study attends to are also pinpointed. Chapter one is entitled "Feminism: An Historical Context". It attempts to expose the complex relationship between an Arab feminist discourse as informed by historical relations with the West in colonial and postcolonial eras. A particular emphasis is placed on the emergence of feminism within an Arab-Islamic context. A socio-cultural and political interpretation of such relations is provided to promote a method of reading the novels as necessarily contextualised activities. Since genuine and constructive visions of transformation as pertaining to women's issues need be inherently embedded in certain political and historical realities, the second and third chapters are basically devoted to unfolding the entwining dynamics as informing the realities of both the Western and Arab "houses". How authentic both the Arab and British writers are in depicting their own distinctive realities in the different feminist novels arehighlighted and assessed. Also examined is the extent to which feminist political concerns could be seen as pursued at the expense of the aesthetic aspects of the novels. Chapter Four is devoted to analysing images of men in the feminist novels at hand. It also unravels how these images can be integrated into a comprehensive vision of change. The 111 relation between reductionist and stereotypical representations of men and the tenability of transformative visions are also discussed. Chapter Five, "Absences and Presences: Religious Icons and Ephemeral Images", is concerned with analysing the politics of certain exclusions and inclusions in the feminist novels especially in connection with some religious and other cultural forces pertaining to specific realities. Relating that politics to wider socio-cultural contexts helps in accounting for the convergences and divergences between the Arab feminist novel and its English counterpart and works to expose the nature of the intricate relationship between the two. Chapter Six, "Conclusion", underscores the most important findings of the study. The tenability of visions of change that would affect the lives of women and their societies at large as disseminated by the feminist novelists are assessed against various socio-cultural and political givens. I-low the profundity and comprehensibility of these visions are inherently linked to the novels' aesthetic value is also discussed

    Eastern European film festivals: streaming through the covid-19 pandemic

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    The Covid-19 pandemic disrupted virtually all domains of the film industry, from the production, through distribution to exhibition of films. As opposed to flourishing VOD platforms, cinemas have been hit particularly hard and with them film festivals, which had to choose between postponing their terms, becoming online or hybrid, or being cancelled altogether. The article focuses on festivals that either take place in Eastern Europe or are focused on the cinema of the region. It first briefly outlines the history of film festivals in Eastern Europe, then it summarizes the impact of the Covid-19 pandemic on cinemas and VOD platforms and finally presents three case studies of festivals and their activities during the pandemic. The three festivals streamed at least some films from their programmes and endorsed other activities, such as online industry events, drive-in cinemas and Virtual Reality events. The study concludes that the degree to which film festivals could successfully take place during the pandemic depended more on the type of festival than on its geographical location or geographical focus. Eastern European festivals were not lagging behind the West in this respect and many European festivals were, in fact, cooperating and learning from one another
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