Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti’s E´ tudes for Piano

This article examines some of the particular questions and associated strategies concerning matters of rhythm, perceived metre, notation, accentuation, line, physical approach to the keyboard, pedalling, and more in the performance of Ligeti’s Études for piano. I relate these issues to those encountered in earlier repertoire, including works of Schumann, Liszt, Stravinsky, Prokofiev, Bartók and Blacher, and argue that particular approaches and attitudes to both technical and musical matters in the context of these Études can fundamentally affect the concept of the music. A particular focus is upon issues of continuity and discontinuity, and the ‘situation’ of these works within particular pianistic and other traditions by virtue of the approach taken to performance

Cultural industries and public policy

This article re-imagines the space of the cultural industries and their governance. It is divided into three parts. In the first, questions of definition are reviewed. In the second part, cultural policies (and by default cultural industries policies) are examined in order to disclose the key concepts of culture that they are based upon. The final section, on governance, develops an argument that seeks to open up a space where the hybrid nature of cultural production can be addressed by policy

¿“Fidelismo sin Fidel”? El Congreso por la Libertad de la Cultura y la Revolución Cubana

Initially hailed as a restoration of democracy, the turn to taken by the Cuban Revolution of 1959 would transform the dynamics of the Cold War in Latin America, forcing one of the main pro-American cultural organizations in the region to reposition itself: the Congress for Cultural Freedom (Berlin, 1950). This article explains the analyses which that organization made of the nature of the Cuban regime, its internal debates about forming an ideological strategy to oppose the Fidel Castro movement and the limitations on its actions, situating it in a conflict characteristic of the left and showing the way it was controlled by the Central Intelligence Agency (CIA), its main sponsor

`China Design Now'

This article draws from cultural studies, political theory, international relations, art history and museum studies in order to consider `China Design Now' — the blockbuster exhibition, recently held at the V&A. It argues that, despite the inclusion of a number of interesting exhibits, the attempt to frame contemporary Chinese design independently of political contextualization has led to an exhibition which is largely unsatisfying. The approach taken by the V&A is further shown to have produced several ironic outcomes. First, by attempting to avoid `contentious' political issues, the museum has, in fact, forced the `political' to the fore. Second, by taking such an approach, the V&A demonstrates that it has failed to understand the essentially political nature of the design problem. Third, it has produced an exhibition which appears to advocate a (highly political) neoliberal agenda — one which insists on an inexorable drive towards greater global economic integration. Finally, it has failed to mention its own embeddedness within larger strategies of `cultural diplomacy' and the significance of such strategies for international relations and for cultural production. As well as drawing on a range of relevant literature, the article makes direct reference to exhibition wall texts, exhibit labels and quotations from the catalogue in order to support its argument

‘Slowing down the going-away process’ — Tom Stoppard and Soviet Dissent

Tom Stoppard is a playwright most noted for his ferocious wordplay and playful approach to reality. In the 1970s and 1980s, his concern for like-minded prisoners of conscience in the Soviet bloc informed his activism on their behalf, utilising his public profile in an attempt to reposition their plight in the West. Stoppard’s activism was largely informed by his involvement with a number of non-governmental organisations (NGOs) working to publicise human rights violations in the Soviet Union, who provided him with the most up to date information on these abuses, and gave him access to dissidents. This article explores Stoppard’s activism on behalf of Soviet prisoners of conscience, highlighting the impact that these organisations had on his activism. Through an assessment of Stoppard’s efforts, it highlights the important role that NGOs and celebrity politics played during the cold war