Fuller geographies and the care-ful co-production of transgressive pedagogies, or 'Who Cares?'

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The arts of action

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts

Non-discursive knowledge and the construction of identity. Potters, potting and performance at the bronze age tell of Százhalombatta, Hungary

This article explores the relationship between the making of things and the making of people at the Bronze Age tell at Százhalombatta, Hungary. Focusing on potters and potting, we explore how the performance of non-discursive knowledge was critical to the construction of social categories. Potters literally came into being as potters through repeated bodily enactment of potting skills. Potters also gained their identity in the social sphere through the connection between their potting performance and their audience. We trace degrees of skill in the ceramic record to reveal the material articulation of non-discursive knowledge and consider the ramifications of the differential acquisition of non-discursive knowledge for the expression of different kinds of potter's identities. The creation of potters as a social category was essential to the ongoing creation of specific forms of material culture. We examine the implications of altered potters' performances and the role of non-discursive knowledge in the construction of social models of the Bronze Ag

Recovery From Design

Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form

Religion, social movements, and zone of crisis in Latin America

This repository item contains a single issue of Issues in Brief, a series of policy briefs that began publishing in 2008 by the Boston University Frederick S. Pardee Center for the Study of the Longer-Range Future.Based on the outcomes of a three-year project led by Boston University’s Institute on Culture, Religion, and World Affairs (CURA), this Issues in Brief explores the connections between religion and social movements in Latin America, especially in areas where efforts have been made to expand citizens’ rights and institute reforms to improve social justice. The authors use examples presented by collaborating scholars at the project’s conferences to show how religion is, in fact, an intrinsic part of everyday life and has played an important role in both revolutions and evolutions toward democracy in the region. They argue that any assessment of where Latin America has been and where it is headed must understand and consider “the multiple roles played by religion as citizens fight for new rights and reshape democratic politics.

Back to the Future of the Body

What can the past tell us about the future(s) of the body? The origins of this collection of papers lie in the work of the Birkbeck Institute for the Humanities which has been involved in presenting a series of international workshops and conferences on the theme of the cultural life of the body. The rationale for these events was that, in concepts as diverse as the cyborg, the questioning of mind/body dualism, the contemporary image of the suicide bomber and the patenting of human genes, we can identify ways in which the future of the human body is at stake. This volume represents an attempt, not so much to speculate about what might happen, but to develop strategies for bodily empowerment so as to get “back to the future of the body”. The body, it is contended, is not to be thought of as an “object” or a “sign” but as an active participant in the shaping of cultural formations. And this is emphatically not an exercise in digging corpses out of the historical archive. The question is, rather, what can past lived and thought experiences of the body tell us about what the body can be(come)? Dominic Janes edited this book and contributed this chapter

Struggling to 'fit in': On belonging and the ethics of sharing in project teams

This paper explores the links between belonging and ethics, which remain largely underdeveloped in project studies and are overlooked in everyday practice of managing projects. It focuses on belonging as the process articulating identity-construction of an inter-organisational project team from a global management consulting firm that was working in IS design. As the team?s experienced ?sense of place?, belonging becomes the space which highlights preferred affiliations and exposes how ? individually and collectively ? ethics are played out in the context of the management of projects. Four in situ belonging-narratives (of opposition, pragmatism, reflexivity, and the habitual narrative) represent ethics as part of lived action and of a life-world that emerge from deconstructing and reconstructing ?the team? and an ideal worker in projects. The team?s struggles to ?fit in? were experienced both when resisting and when collaborating with the dominant collective narrative of belonging. Modes of belonging are constituted in the relationship between self, others, and ?otherness?, creating a situated ethical imagination of how to ?be professional?. Implications concern the politics of belonging and call for a renewed practical ethics that engages with the social nature of ?being?, to change the current view of professional identities in projects

MATCH International, 2012-2013 Annual Report

MATCH has been faced with many challenges, but as an organization that has been driven by the power, resilience, and collective leadership of women around the world we continue to surmount these obstacles and feel stronger than ever. 2012 was an exciting year for womeninternationally, and we were proud to be part of the ever-growing momentum and demand for gender equality

Sex in the city: the rise of soft-erotic film culture in Cinema Leopold, Ghent, 1945-1954

Since the 1990s, film studies saw a disciplinary shift from approaches favoring a textual and ideological analysis of films to a broader understanding of the socio-cultural history of cinema under the banner of new cinema history. This turn not only allowed for ‘niche’ research domains to flourish such as film economics or cinema memory research, or for new empirical and critical methodologies to be applied to film and cinema history. This change in researching and writing film/cinema history also shed light on previously marginalized, neglected or uncharted film cultures and histories, burgeoning scholarship in for instance (s)exploitation cinema. This contribution examines a peculiar part of post-war local film culture in the Belgian city of Ghent, more precisely the one around the city-center soft-erotic cinema Cinema Leopold (1945-54). The research is based on a programming and box-office database compiled from archival sources and contextualized by other data (internal and external correspondence, posters,…) coming from the business archive of Octave Bonnevalle, Cinema Leopold’s founding pater familias (material kept in the State Archives of Belgium; RAB/B70/1928-1977). The database now contains information on 625 film titles shown between 1945 and 1954, out of which 233 were unidentified (due to lack of information). Although the database is at times crippled by source inconsistencies, it is extremely rich in documenting the everyday practices of a cinema that gradually turned into a soft-erotic movie theater. The database allows for some remarkable findings concerning shifts in the origin of films, their production years, genres, censorship and popularity. The key finding is that Cinema Leopold started out after the Second World War with a child-friendly, mainstream Hollywood-oriented film program, as did most cinemas in Ghent, but its profile slowly tilted towards more mature audiences and provocative film genres. These included French ‘risqué’ feature films containing some forms of nudity like Perfectionist/Un Grand Patron (Ciampi, 1951) and documentaries on venereal diseases like the successful Austrian Creeping Poison/Schleichendes Gift (Wallbrück, 1946), but also auteur movies such as Bergman’s Port of Call/Hamnstad (1948) were shown. It is interesting how Leopold walked a fine line between innovative, bold European art-house cinema, soft-erotic ‘didactic’ movies and flat-out commercial soft-porn. By 1954, Leopold had gathered a loyal crowd, which kept the cinema alive until 1981 despite the several law suits and trials. This micro-history offers a remarkable example of the post-war flourishing of alternative, yet profit-driven cinema circuits, riddled with media controversies and censorship

Towards a million change agents. A review of the social movements literature: implications for large scale change in the NHS.

This review explores 'social movements' as a new way of thinking about large-scale systems change and assesses the potential contribution of applying this new perspective to NHS improvement