Classical and revisionary theism on the divine as personal: a rapprochement?

To claim that the divine is a person or personal is, according to Richard Swinburne, ‘the most elementary claim of theism’ (1993, 101). I argue that, whether the classical theist’s concept of the divine as a person or personal is construed as an analogy or a metaphor, or a combination of the two, analysis necessitates qualification of that concept such that any differences between the classical theist’s concept of the divine as a person or personal and revisionary interpretations of that concept are merely superficial. Thus, either the classical theist has more in common with revisionary theism than he/she might care to admit, or classical theism is a multi-faceted position which encompasses interpretations which some might regard as revisionist. This article also explores and employs the use of a gender-neutral pronoun in talk about God

Building a Small Cinema: Resisting Neoliberal Colonization in Liverpool

In its stated aim of “creating cinemas not supermarkets,” the Small Cinema project voiced its alterity to the recent redevelopment of Liverpool’s city center and those of other former industrial cities throughout the Midlands and the north of the UK. These regeneration projects addressed the problem of a shrinking manufacturing base by replacing them with service industries, a move which has entailed the privatization of vast tracts of public space. Conversely, the building, functioning, and general praxis of the Small Cinema project suggests a mode of practice that more accurately fits within the paradigm of a collaborative commons than a capitalist marketplace. The project’s exemption from market criteria grants it the freedom to pursue public over private goods, thereby constituting a point of resistance to the ongoing neoliberalization of the city and changes to government policy that make it increasingly difficult for non-profit projects to exist. Historically speaking, cinemas have been accessible to the working class in a way that other artistic media have not. However, while the history of film as a tool for political subversion is well documented, less attention has been paid to the physical construction of independent cinematic space, its programming/running, and its potential as a node of resistance to neoliberal colonization. This paper uses the case study of the Small Cinema project in Liverpool as a means by which to understand how cinematic spaces can counteract the effects of policies that continue to have such a detrimental impact on the arts and education, as well as social health and well-being

Spaces of Yoga – Towards a Non-Essentialist Understanding of Yoga

This chapter will examine some of the spaces that yoga occupies in the contemporary world, both physical and social. By looking at yoga through the focus of particular, contested spaces and locations, it will be argued that overarching essentialist definitions of yoga are impossible, although individuals and social groups can and do create essentialist definitions that are more or less useful for particular purposes. By exploring these narratives and boundaries in the context of specific locations, we can better understand what people are doing with the collection of beliefs and practices known as yoga

Creative aspiration and the betrayal of promise? The experience of new creative workers

The promise of ‘doing what you love’ continues to attract new aspirants to creative work, yet most creative industries are so characterised by low investment, shifting foci and ongoing technological innovation that all promises must be unreliable. Some would-be creative workers negotiate their own pathways from the outset, ‘following their dream’ as they attempt to convert personal enthusiasms and amateur activities into income-earning careers. Others look to the proliferation of available training and education options, including higher education courses, as possible pathways into creative work. This chapter reviews recent research from the USA, Australia and the UK on the effectiveness – or otherwise – of higher education as preparation for a creative career. The chapter discusses the obstacles that many creative workers, including graduates, encounter on their creative pathways, for instance, as a result of informal work practices and self-employment. The chapter also looks at sources of advantage and disadvantage, such as those associated with particular geographic locations or personal identities. The chapter concludes by introducing the subsequent chapters in the collection. These critically explore the experience of new creative workers in a wide range of national contexts including Australia, Belgium, China, Ireland, Italy, Finland, the Netherlands, Russia and the United Kingdom

E1 Theme: Trust-building for collaborative win-win customer solutions. Opportunity Assessment Roadmap Report

This report proposes a five year roadmap that address the opportunities for understanding, building and measuring trust in the Australian energy sector. Providing customer education alone is not consistent with best practice. Deficits in public knowledge are not the problem; therefore, educating energy users about the energy system is not the solution. This roadmap leverages customers strengths, knowledge, and practices to cultivate trust using a shared value approach. The conceptual centrepiece of this report is the ‘ecosystem of shared value’ – an industry-wide approach to valuing consumers’ contributions to the creation of value

Culture, government, and spatiality: re-assessing the 'Foucault effect' in cultural-policy studies

This article critically discusses the reconceptualization of culture and governmentality in recent Australian ‘cultural–policy studies’. It argues that the further development of this conceptualization requires a more careful consideration of the complex relations between culture, power and the different spatialities of social practices. The assumptions of this literature regarding social-democratic public institutions and the nation-state are critically addressed in the light of contemporary processes of globalization. It is argued that the use made of Foucault in this paradigm privileges a model of disciplinary power which is dependent on a particular spatialization of social subjects and technologies of the self. As a result, an uncritical application of this model to all cultural practices supports a far too coherent image of practices of ‘government’ in producing sought-after subject-effects. It is suggested that the different articulations of spatio-temporal presence and absence in cultural technologies require a less totalizing understanding of the forms of power exercised through governmental practices

Culture, geography, and the arts of government

This paper endeavors to prise open the theoretical closure of the conceptualization of culture in contemporary human geography. Foucault's later work on government provides the basis for a useable definition of culture as an object of analysis which avoids problems inherent in abstract, generalizing and expansive notions of culture. The emergence of this Foucauldian approach in cultural studies is discussed, and the distinctive conceptualization of the relations between culture and power that it implies are elaborated. This re-conceptualization informs a critical project of tracking the institutional formation of the cultural and the deployment of distinctively cultural forms of regulation into the fabric of modern social life. It is argued that the culture-and-government approach needs to be supplemented by a more sustained consideration of the spatiality and scale of power-relations. It is also suggested that this approach might through into new perspective the dynamics behind geography's own cultural turn