Purcell factor for point-like dipolar emitter coupling to 2D-plasmonic waveguides

We theoretically investigate the spontaneous emission of a point--like dipolar emitter located near a two--dimensional (2D) plasmonic waveguide of arbitrary form. We invoke an explicite link with the density of modes of the waveguide describing the electromagnetic channels into which the emitter can couple. We obtain a closed form expression for the coupling to propagative plasmon, extending thus the Purcell factor to plasmonic configurations. Radiative and non-radiative contributions to the spontaneous emission are also discussed in details

An unfolding signifier: London's Baltic Exchange in Tallinn

In the summer of 2007 an unusual cargo arrived at Muuga and Paldiski harbors outside Tallinn. It consisted of nearly 50 containers holding over 1,000 tons of building material ranging from marble columns, staircases and fireplaces, to sculpted allegorical figures, wooden paneling and old-fashioned telephone booths. They were once part of the Baltic Exchange in the City of London. Soon they will become facets of the landscape of Tallinn. The following article charts this remarkable story and deploys this fragmented monument to analyze three issues relating to the Estonian capital: the relocation of the ‘Bronze Soldier’, the demolition of the Sakala Culture Center, and Tallinn’s future role as European Cultural Capital in 2011

Unravelling social constructionism

Social constructionist research is an area of rapidly expanding influence that has brought together theorists from a range of different disciplines. At the same time, however, it has fuelled the development of a new set of divisions. There would appear to be an increasing uneasiness about the implications of a thoroughgoing constructionism, with some regarding it as both theoretically parasitic and politically paralysing. In this paper I review these debates and clarify some of the issues involved. My main argument is that social constructionism is not best understood as a unitary paradigm and that one very important difference is between what Edwards (1997) calls its ontological and epistemic forms. I argue that an appreciation of this distinction not only exhausts many of the disputes that currently divide the constructionist community, but also takes away from the apparent radicalism of much of this work

The filmic fugue of Ken Russell’s Pop Goes the Easel

First broadcast as an episode of BBC Television’s Monitor in 1962, Ken Russell’s documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and richly varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television’s engagement with the visual arts in the medium’s first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice. Also, that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid- and late 1950s. It is further proposed that Pop Goes the Easel is especially note-worthy for its finely-balanced tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemous openness

Examining the effects of experimental/academic electroacoustic and popular electronic musics on the evolution and development of human–computer interaction in music

This article focuses on how the development of human–computer interaction in music has been aided and influenced by both experimental/academic electroacoustic art music and popular electronic music. These two genres have impacted upon this ever-changing process of evolution in different ways, but have together been paramount to the establishment of interactivity in music as we understand it today; which is itself having wide-ranging implications upon the modern-day musical landscape as a whole—both in the way that we, as listeners and audience members, purchase and consume music as well as conceptualise and think about it

Learners reconceptualising education: Widening participation through creative engagement?

This paper argues that engaging imaginatively with ways in which statutory and further education is provided and expanding the repertoire of possible transitions into higher education, is necessary for providers both in higher education and in the contexts and phases which precede study at this level. Fostering dispositions for creativity in dynamic engagement with educational technology together with the consideration of pedagogy, learning objects, inclusion, policy and the management of change, requires innovative provision to span the spaces between school, home, work and higher education learning. Reporting on The Aspire Pilot, a NESTA-funded initiative at The Open University, the paper offers the beginning of a theoretical frame for considering learning, learners and learning systems in the information age prioritizing learner agency. It will report emergent empirical findings from this inter-disciplinary project, with a significant e-dimension, which seeks to foster the creativity of 13-19 year olds in considering future learning systems, developing provocations for others to explore creative but grounded possibilities. It explores implications arising from this project for approaches that may facilitate widening participation in higher education

Humour as social dreaming:Stand-up comedy as therapeutic performance

Stand-up comedy binds dramatic cultural spectacle to ritualised, intimate exposure. Examining ‘case’ examples from live comic performance, this paper describes stand-up as a kind of social dreaming. The article proposes a theoretical frame drawing on Thomas Ogden’s notion of ‘talking as dreaming’ and psychoanalytic accounts connecting humour and melancholia. Locating the stand-up comedian’s propensity for humour in a specialist capacity to hone, display and process traumata, the paper characterises stand-up as a performative oscillation evoking paranoid-schizoid and depressive anxieties. A psychosocial gloss places stand-up as a cultural resource in the service of the popular-as-therapeutic. The paper articulates complementarities between Henri Bergson’s formulations on the function of laughter and an emergent object relations account in order to help to recognise ‘containing’ and ‘cultural-restorative’ aspects of much stand-up, understood as contemporary psychosocial ritual