Throughput Analysis of Manual Order Picking Systems with Congestion Consideration

Throughput in manual order picking systems with narrow aisles suffers from congestion as pickers cannot pass each other. Only few models incorporate congestion but they have very strict assumptions. In this work, queueing theory is used to analyze systems with traversal routing as well as different storage policies. The models are able to estimate throughput for many alternative designs in a relatively short amount of time. New guidelines for narrow-­aisle order picking systems are introduced

To Where the Clock Changes: Migrant Illegalisation and its Consequences Along the France-UK Border

The history of British immigration control has culminated in the establishment and growth of informal, camp-like migrant settlements in northern France. Despite their proliferation across Europe, the current literature does not yet provide sufficient anthropological understanding of these spaces. To bridge this gap, this thesis draws on ethnographic fieldwork conducted in 2018 and 2019 exploring the intersections of violence and affect in one particular settlement, Dankix. Dankix is continuously built and rebuilt by its street homeless undocumented Kurdish residents, as they attempt to reach the United Kingdom in lorries and small boats. Since the turn of the century, over 340 people have died along the France-UK border. This thesis examines the circumstances that lead to death in Dankix. It explores the way that different forms of violence are exerted upon people living in the settlement, how they are elucidated through interpersonal encounters, and how residents negotiate such a violent milieu in their bid to reach the UK. In addressing these issues, this research examines how structures of violence become (in)visible and shape the everyday. It focuses on the humanitarian encounter, smuggling and other money-making strategies, arrest and detention, embodiment, and border death to illustrate life and death within a setting to which, as yet, scholars have paid little attention. This thesis shows that violence transforms the economy of affective attachments through which Dankix residents experience, mediate, and interpret the world around them, and their place within it. It draws out particularities of informal camps to show how key themes in migration literature, such as waiting, are complicated by this setting and its spatial politics. Finally, it argues that Dankix has become a space where death is misrecognised as inevitable. It concludes by making policy recommendations that, if implemented, would enable Dankix residents to seek asylum in the UK safely

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

Cognitive Disability Aesthetics

Cognitive Disability Aesthetics explores the invisibility of cognitive disability in theoretical, historical, social, and cultural contexts. Fraser’s cutting edge research and analysis signals a second-wave in disability studies that prioritizes cognition. He expands upon previous research into physical disability representations and focuses on those disabilities that tend to be least visible in society (autism, Down syndrome, Alzheimer's disease, schizophrenia). Moving beyond established literary approaches analyzing prose representations of disability, the book explores how iconic and indexical modes of signification operate in visual texts. Cognitive Disability Aesthetics successfully reconfigures disability studies in the humanities and exposes the chasm that exists between Anglophone disability studies and disability studies in the Hispanic world

Celebrity chefs: class mobility, media, masculinity

There is an unprecedented construction of contemporary celebrity unique to the figure of the chef. This thesis considers the position of chefs in celebrity culture, and the construction of a particular kind of authoritative celebrity identity, with an emphasis on empirical research. I examine the effects of celebrity culture on the work of chefs and in terms of gender, taste, and class. I argue that the commercial kitchen is a space that institutionalises masculinity, and that popular media and celebrity culture augment the process of institutionalisation. This thesis also considers the production of economies of cultural capital across different platforms and in different forms. I position social media as a key site that produces global economies of cultural capital, and that facilitates diverse modes of consumption and production of cultural capital. Celebrity culture has altered the way chefs are perceived by consumers and the media. In response to celebrity culture, chefs’ work has moved outside the kitchen and is becoming increasingly abstract. Intellectual labours enable class and social mobility and articulate taste, positioning celebrity chefs as middle class rather than working class. Celebrity chef culture has created what I call the ‘chef economy’, within which restaurants trade on the brand and celebrity status of their chefs. This thesis provides a close examination of celebrity chef culture, drawing on principles of ethnographic research and one-on-one interviews with chefs who have extensive experience working with popular media and have negotiated celebrity culture in their work. My ethnographic approach and empirical research responds to suggestions for more empirical data in celebrity studies (Ferris 2010; Turner 2010b, 2013). Through developing a multimedia, multi-sited ethnography, in addition to in-depth interviews with chefs, I offer a discussion on the changing nature of celebrity culture and the changing labours of the chef

On the linguistic constitution of research practices

This thesis explores sociologists' routine research activities, including observation, participant observation, interviewing, and transcription. It suggests that the constitutive activities of sociological research methods - writing field-notes, doing looking and categorising, and the endogenous structure of members' ordinary language transactions are suffused with culturally methodic, i.e. ordinary language activities. "Membership categories" are the ordinary organising practices of description that society-members - including sociologists - routinely use in assembling sense of settings. This thesis addresses the procedural bases of activities which are constituent features of the research: disguising identities of informants, reviewing literature, writing-up research outcomes, and compiling bibliographies. These activities are themselves loci of practical reasoning. Whilst these activities are assemblages of members' cultural methods, they have not been recognised as "research practices" by methodologically ironic sociology. The thesis presents a series of studies in Membership Categorisation Analysis. Using both sequential and membership categorisational aspects of Conversation Analysis, as well as textual analysis of published research, this thesis examines how members' cultural practices coincide with research practices. Data are derived from a period of participant observation in an organisation, video-recordings of the organisation's work; and interviews following the 1996 bombing in Manchester. A major, cumulative theme within this thesis is confidentiality - within an organisation, within a research project and within sociology itself. Features of confidentiality are explored through ethnographic observation, textual analysis and Membership Categorisation Analysis. Membership Categorisation Analysis brings seen-but-unnoticed features of confidentiality into relief. Central to the thesis are the works of Edward Rose, particularly his ethnographic inquiries of Skid Row, and Harvey Sacks, on the cultural logic shared by society-members. Rose and Sacks explicate the visibility and recognition of members' activities to other members, and research activities as linguistic activities