Practices of Remembrance: The Experiences of Artists and Curators in the Centenary Commemoration of World War I

The centenary of World War One was marked in the UK by an unprecedented national investment in the creative arts as a vehicle for remembrance. This scale of funding for commemorative arts, not least under a government whose mantra had been economic “austerity”, demonstrates the importance that the nation-state placed on remembrance and on engaging the public in acts of memory through the arts. In the aftermath of the centenary, funding bodies have commissioned evaluations of this programming. These evaluations have focused on audiences reached, organisations benefitted, and social transformation. What remain occluded by the reports are the experiences of the artists themselves and the curators with whom they worked. In this article I explore the personal and affective experiences of several artists and curators whose work contributed to this national programme of remembrance. I ask: to what extent did artists and curators consciously engage with prior artistic responses to World War One? How did the context of collective commemoration and memory-making inform their practice and the works produced? What did their involvement in this programme of national remembrance make them feel? What were the narratives of the war they wanted to tell? To begin to answer these questions, I draw on a series of one-to-one interviews conducted with a number of artists and curators who were involved in commemorative projects in the UK and overseas

The "Reasonable Man" in Colonial Nigeria

A key scholarly debate in late colonial law concerns the interpretation of the ‘reasonable man’. The reasonable man, whose paradigmatic status was itself a contested subject for English law, was all the more problematic for colonial law when the idea of a ‘reasonable native’ was presumed in and of itself to be questionable. Should the ‘native’ be held to the same standard of reasonableness as the Englishman? And if not, what standard of reason was valid? This article examines how popular literature of the period, both fiction and memoir, reflects these concerns. Focusing on accounts of colonial Nigeria, I show how this literature repeatedly complicates the perceived ‘reasonableness’ of both Europeans and colonial subjects. Moreover, I demonstrate that these complications, frequently dramatized through narratives of the uncanny, make visible colonial anxieties about the distinction between native custom and colonial authority

Memory and photography: Rethinking postcolonial trauma studies

Recent scholarship in trauma and postcolonial studies has called for more wide‐ranging and at the same time more specific paradigms in trauma theory in order to accommodate the complexities of trauma evidenced in postcolonial writing. The work of sociologist Kai Erikson provides a useful model for unpacking the diachronic nature of postcolonial trauma, and for acknowledging the multiple social fractures that trauma inflicts. In a case study demonstrating Erikson's applicability, I show how common tropes of trauma narrative are used as more than an adherence to convention in Marinovich and Silva's memoir, The Bang‐Bang Club, which recounts the experiences of white South African photographers covering Soweto's Hostel War in the early 1990s. These narrative strategies produce a space of non‐resolution in which the trauma of violence and witnessing can appear

Writing in Translation: Robert Sullivan’s 'Star Waka' and Craig Santos Perez’s 'from unincorporated territory'

This article reads the multilingual poetics of Robert Sullivan's 'Star Waka' and Craig Santos Perez’s 'from unincorporated territory', showing how each poet deploys a range of formal, thematic, and imagistic strategies for expressing a contemporary transnationalism. Rather than identify a language of the metropole resisted by a threatened yet contestatory ‘local’ language, Sullivan and Perez cast apparently regional languages as equally traveled as the colonial languages that threaten to mask or silence them. In so doing, these poets argue not just for the vitality and resurgence of Maori and Chamorro respectively; they ultimately privilege neither ‘first’ nor ‘second’ language, neither ‘source’ nor ‘target,’ metropole nor colony, locating their argument for sovereignty in a kinetic space of translation, identifying the process of moving between heterogeneous languages which are irreducible to national literatures — even though they have been co-opted into nationalist discourses both oppressive and resistant — as equally valuable as the recourse to self-expression in an oppressed or minority language. This practice, which we term ‘writing in translation,’ offers evidence for a wider postcolonial turn, identified by critics such as Subramanian Shankar, Jacob Edmonds, and Gaytri Spivak, from seeing translation principally as evidence of colonial/imperial rupture and instead identifying within it a poetics of emergent discourse in which translation allows the multiple idioms and registers to co-exist, displaying a range of power structures and social hierarchies simultaneously

Early twentieth century modernism and the absence of God

At the beginning of the twentieth century we find novelists using their medium to express doubt in both the Judeo-Christian narrative as archetype and the possibility of purposive narrative in their own work. Often these writers took well-recognized paradigms of purposive narratives, such as 'the quest', or 'historical narrative' and adapted them to show them failing to reach their purposed denouement. The work of these novelists was paralleled by that of contemporary poets. Although the poets' concerns were less immediately affected by the specific challenges to Judeo-Christian narratives, their concern for the efficacy of language was motivated by a similar sense that language no longer possessed the edenic quality of reaching the thing it aimed at. Furthermore the frameworks of art themselves (perspective, rhyme, formal representation, and so on) were found to be unstable. Literary responses to the failure of language and narrative were varied. In a radically simplified form they may be located on a continuum between two points: at one end a desire to fill the void left by an absent God; at the other a fascination with the possibilities of the void. My thesis situates the work of Conrad in particular, as well as Forster, Eliot, Woolf, Imagism and Dada, on this continuum, during the period of, roughly, 1899-1925. The works of these individuals and groups are considered individually and comparatively through detailed readings of texts and images. Through such consideration it becomes apparent that the fascination of the void, which attracted all these writers to varying extents, also brought them to realize new aesthetic possibilities that seemed to fill the void. In particular, the modernist texts under consideration developed an aesthetic of aperture, that is to say an aesthetic of the momentary, more specifically, the moment prior to comprehension, the moment of experience. In fiction this aesthetic grew out of a deconstruction of purposive narrative in favour of imagistic presentation; in poetry and the visual arts the poem or picture abstracted its object from reality and yet equivalenced reality by presenting an inherent internal logic. That logic apparent in the poem or picture was often placed beyond the grasp of the reader or viewers' understanding, representing the sense that the logical operations of the world or the divine machinations of God, were either beyond comprehension,if not non-existent altogether. This aesthetic of aperture is once again illustrated through detailed examination of particular texts and images. In the works considered this reinstatement of the possibility of purposive narrative and language through an aesthetic of aperture is figured mystically, presented in negative-theological terms of absence, silence and the unknowable. The mysticism identified appears at odds with the predominantly practical theological debates in Europe at the time and yet finds philosophical parallels in Wittgenstein's Tractatus. The thesis concludes that the return, in modernist works, of attempts to fill the void is the result not only of aesthetic, but also of social and personal (in particular the repercussions of world war), desires for at least the possibility of purposive narrative and language

Living the neoliberal global schooling project: an ethnography of childhood and everyday choices in Nepal

This research draws upon interdisciplinary studies of childhood and young people’s agency to present an ethnographic account of one group of young people in Nepal’s lived experience of ‘the global schooling project’, a term used to describe the series of policy initiatives and the complex landscape of actors and institutions furthering the aim of getting every child, everywhere into school. Based on five months of fieldwork in which I intimately embedded myself in the everyday lives and social, emotional worlds of a group of young people living on Mansawar Street in Pokhara, I show how the global schooling project and its values impact upon their childhoods and everyday choices, shaping their aspirations, daily routines and self-conceptions, and those of their families and communities. I bring attention to how these flattening policy initiatives can have the effect of marginalising many of these young people’s unique talents, interest and competencies, not accounting for the diversity of their learning and their agencies in moving through and making sense of their everyday material and immaterial worlds. I emphasise how schooling can act as an ambiguous resource for these young people, not only providing opportunity, knowledge and pathways towards employment, but also drawing them into systems of inequality and exploitation, both inside and outside of school. This research, then, provides an account of the lived experience of schooling on Mansawar Street and the profound ways in which schooling shapes local economies and ecologies, transforming family and community relationships and young people’s childhoods

Introduction for Special Issue ‘Autotheory in Contemporary Visual Arts Practice’

This Special Issue concerns the artistic practice of autotheory and its associated af-fordances and risks as undertaken by artists, art writers, and those interested in the stakes of the practice of autotheory [...

Order Parameters of the Dilute A Models

The free energy and local height probabilities of the dilute A models with broken \Integer_2 symmetry are calculated analytically using inversion and corner transfer matrix methods. These models possess four critical branches. The first two branches provide new realisations of the unitary minimal series and the other two branches give a direct product of this series with an Ising model. We identify the integrable perturbations which move the dilute A models away from the critical limit. Generalised order parameters are defined and their critical exponents extracted. The associated conformal weights are found to occur on the diagonal of the relevant Kac table. In an appropriate regime the dilute A$_3$ model lies in the universality class of the Ising model in a magnetic field. In this case we obtain the magnetic exponent $\delta=15$ directly, without the use of scaling relations.Comment: 53 pages, LaTex, ITFA 93-1

Synthesis of a Vocal Sound from the 3,000 year old Mummy, Nesyamun ‘True of Voice’

The sound of a 3,000 year old mummified individual has been accurately reproduced as a vowel-like sound based on measurements of the precise dimensions of his extant vocal tract following Computed Tomography (CT) scanning, enabling the creation of a 3-D printed vocal tract. By using the Vocal Tract Organ, which provides a user-controllable artificial larynx sound source, a vowel sound is synthesised which compares favourably with vowels of modern individuals

Conserved noncoding sequences highlight shared components of regulatory networks in dicotyledonous plants

Conserved noncoding sequences (CNSs) in DNA are reliable pointers to regulatory elements controlling gene expression. Using a comparative genomics approach with four dicotyledonous plant species (Arabidopsis thaliana, papaya [Carica papaya], poplar [Populus trichocarpa], and grape [Vitis vinifera]), we detected hundreds of CNSs upstream of Arabidopsis genes. Distinct positioning, length, and enrichment for transcription factor binding sites suggest these CNSs play a functional role in transcriptional regulation. The enrichment of transcription factors within the set of genes associated with CNS is consistent with the hypothesis that together they form part of a conserved transcriptional network whose function is to regulate other transcription factors and control development. We identified a set of promoters where regulatory mechanisms are likely to be shared between the model organism Arabidopsis and other dicots, providing areas of focus for further research