People and places: Understanding geographical accuracy in administrative data from the census and healthcare systems

Administrative systems such as health care registration are of increasing importance in providing information for statistical, research, and policy purposes. There is thus a pressing need to understand better the detailed relationship between population characteristics as recorded in such systems and conventional censuses. This paper explores these issues using the unique Northern Ireland Longitudinal Study (NILS). It takes the 2001 Census enumeration as a benchmark and analyses the social, demographic and spatial patterns of mismatch with the health register at individual level. Descriptive comparison is followed by multivariate and multilevel analyses which show that approximately 25% of individuals are reported to be in different addresses and that age, rurality, education, and housing type are all important factors. This level of mismatch appears to be maintained over time, as earlier migrants who update their address details are replaced by others who have not yet done so. In some cases, apparent mismatches seem likely to reflect complex multi-address living arrangements rather than data error.

Adapting musicology’s use of affect theories to contemporary theatre-making: directing Martin Crimp’s Attempts on Her Life

Adopting and adapting musicology’s use of affect theories, specifically Jeremy Gilbert’s idea of an ‘affective analysis’ and David Epstein’s idea of ‘shaping affect’, this article looks at Martin Crimp’s Attempts on Her Life from a practitioner’s perspective. It investigates the challenges and benefits of adopting an ‘affective approach’ to directing recent theatre texts which stress the musicality and corporeality of language along with, and at times above, their signifying roles. Rather than locating Aristotelian dramatic climaxes based on narratological or characterological progression, an affective approach seeks to identify moments of affective intensity, which produce a different sort of impact by working on a ‘body-first’ methodology rather than the directly cerebral. That this embodied impact is not ultimately meaningless is one of affect theories most vital assertions. This approach has resonance in terms of how directors, performers and critics/theorists approach work of this type.