Reality-experiential history documentaries: the Trench (BBC, 2002) and Britain's modern memory of the First World War

Culloden (BBC, 1964) The Great War (BBC, 1964) 1914-18 (BBC/KCET, 1996) Haig: the Unknown Soldier (BBC, 1996) Veterans: the Last Survivors of the Great War (BBC, 1998) 1900s House (Channel 4, 1999) The Western Front (BBC, 1999) History of Britain (BBC, 2000) 1940s House (Channel 4, 2001) The Ship (BBC, 2002) Surviving the Iron Age (BBC, 2001) The Trench (BBC, 2002) Frontier House (Channel 4, 2002) Lad's Army (BBC, 2002) Edwardian Country House (Channel 4, 2002) Spitfire Ace (Channel 4, 2003) World War One in Colour (Channel 5, 2003) 1914: the War Revolution (BBC, 2003) The First World War (Channel 4, 2003) Dunkirk (BBC, 2004) Dunkirk: The Soldier's Story (BBC, 2004) D-Day to Berlin (BBC, 2004) Bad Lad's Army (ITV, 2004) Destination D-Day: Raw Recruits (BBC, 2004) Bomber Crew (Channel 4, 2004) Battlefield Britain (BBC, 2004) The Last Battle (ARTE/ZDF, 2005) Who Do You Think You Are? (BBC, 2004, 2006) The Somme (Channel 4, 2005) [From the Publisher]

Fact, fiction and nostalgia: an assessment of heritage interpretation at living museums

This paper aims to explore and discuss the role of nostalgia (a concept that is inherently grounded within a psychological framework) in heritage interpretation from both provider and consumer perspectives. Whilst many cultural practitioners recognise the relationship between sentimentality and authenticity, particularly within a folk-heritage context, few have sought to examine the effect this has on the visitor experience. This paper questions visitors’ ability to objectively assess objects and experiences at heritage sites, and the role of practitioners in presenting often blurred views of social history that may sometimes negate historical fact. Drawing on case study research at two UK living museums, Blists Hill Victorian Town in Shropshire, England, and the Big Pit: National Coal Museum in Wales, notions of reminiscence, authenticity, myth and intangibility are considered within the framework of the interpretive experience. Findings suggest that the visitor experience is inherently subjective, highly individual and that the concept of intangibility is integral to an understanding of the nostalgia-authenticity debate.

Distributed belief revision as applied within a descriptive model of jury deliberations

Belief revision is a well-research topic within AI. We argue that the new model of distributed belief revision as discussed here is suitable for general modelling of judicial decision making, along with extant approach as known from jury research. The new approach to belief revision is of general interest, whenever attitudes to information are to be simulated within a multi-agent environment with agents holding local beliefs yet by interaction with, and influencing, other agents who are deliberating collectively. In the approach proposed, it's the entire group of agents, not an external supervisor, who integrate the different opinions. This is achieved through an election mechanism, The principle of "priority to the incoming information" as known from AI models of belief revision are problematic, when applied to factfinding by a jury. The present approach incorporates a computable model for local belief revision, such that a principle of recoverability is adopted. By this principle, any previously held belief must belong to the current cognitive state if consistent with it. For the purposes of jury simulation such a model calls for refinement. Yet we claim, it constitutes a valid basis for an open system where other AI functionalities (or outer stiumuli) could attempt to handle other aspects of the deliberation which are more specifi to legal narrative, to argumentation in court, and then to the debate among the jurors.

Belief revision as applied within a descriptive model of jury deliberations

Belief revision is a well-researched topic within Artificial Intelligence (AI). We argue that the new model of belief revision as discussed here is suitable for general modelling of judicial decision making, along with the extant approach as known from jury research. The new approach to belief revision is of general interest, whenever attitudes to information are to be simulated within a multi-agent environment with agents holding local beliefs yet by interacting with, and influencing, other agents who are deliberating collectively. The principle of 'priority to the incoming information', as known from AI models of belief revision, is problematic when applied to factfinding by a jury. The present approach incorporates a computable model for local belief revision, such that a principle of recoverability is adopted. By this principle, any previously held belief must belong to the current cognitive state if consistent with it. For the purposes of jury simulation such a model calls for refinement. Yet, we claim, it constitutes a valid basis for an open system where other AI functionalities (or outer stimuli) could attempt to handle other aspects of the deliberation which are more specific to legal narratives, to argumentation in court, and then to the debate among the jurors.

Subrogation and non-payment of rent

Explains the equitable doctrine of subrogation as it applies to tenants, assignees and landlords. Outlines the basic principle of subrogation and examines how the principle affects the legal position of the original tenant, the tenant's assignee, the tenant's surety and the original landlord.

To tremble the zero: art in the age of algorithmic reproduction

'To Tremble the Zero: Art in the Age of Algorithmic Reproduction' is a philosophic, political and sensuous journey playing with (and against) Benjamin's 'Art in the Age of Mechanical Reproduction'. In an age inundated by the 'post-': postmodernity, posthuman, post art, postsexual, post-feminist, post-society, post-nation, etc, 'To Tremble the Zero' sets out to re/present the nature of what it means to do or make 'art', as well as what it means to be or have 'human/ity' when the ground is nothing other than the fractal, and algorithmically infinite, combinations of zero and one. The work will address also the unfortunate way in which modern forms of metaphysics continue to creep 'unsuspectingly' into our understanding of contemporary media/electronic arts, despite (or perhaps even because of) the attempts by Latour, Badiou, or Agamben especially when addressing the zero/one as if a contradictory 'binary' rather than as a kind of 'slice' or (to use Deleuze and Guattari) an immanent plane of immanence. This work argues that by retrieving Benjamin, Einstein, Gödel, and Haraway, a rather different story of art can be told.

Direct measurement of powder flavour adhesion on to a food surface using a novel adhesion tester

The firm adhesion of flavouring particles onto crisp surfaces during coating processes is a major concern in the snack production industry. Detachment of flavouring powders from products during handling and production stages can lead to substantial financial losses for the industry, in terms of variable flavour performance and extended cleaning down time of fugitive particle build-up on process equipment. Understanding the adhesion strength of applied bulk particulates used for flavouring formulations will help analysts to evaluate the efficiency of coating processes and potentially enable them to assess the adhesion strength of newly formulated flavouring powder prior to commitment to full scale plant trials. A rapid prototype of a novel adhesion tester has been designed and constructed. The apparatus operates according to the principle of impact force acting on particles attached to the surface of the food substrate. The main component is a circular plate to which four sample holders are attached and which is subjected to vertical travel down a guide shaft. Several flavouring powders have been tested extensively. By plotting the detachment versus impact force, the difference obtained between adhesion strength of different flavouring powders (which is a strong function of particle size) has been discussed.