Reinforced concrete wall construction formed with OSB:First published use in the United Kingdom and acknowledged by Terry Pawson Architects as the source of inspiration for the internal concrete finish of the 2010 Carlow VISUAL Centre for Contemporary Art.

The artefact was published in the following :

Bennett, D., (October 2007), Architectural Insitu Concrete, RIBA Publishing, London, , ISBN 124-3671-245, pp 101-103

Bennett, D., (2008), Concrete Elegance Four, London, Concrete Centre and RIBA Publishing, pp cover, c, 4, 9-12 & back.

Stacey, Professor M., (2011) Concrete: a studio design guide, London, Concrete Centre and RIBA Publishing, pp74-75.

Thou art a strange fellow:Dissonance and Discordance in Intercultural Shakespeares

Any performance of the intercultural necessarily, and always, advances the question of the cultural since it involves the inter-action and interplay of unique and particular cultural performance styles and modes. Intercultural theatre, according to Pavis, is a hybrid theatrical form “drawing upon performance traditions traceable to distinct cultural areas. The hybridization is very often such that the original forms can no longer be distinguished.” The result of this collaboration of forms is, however, often not a ‘hybrid’ where cultural texts work cohesively and in unison to produce a harmonious mise en scene. Instead, intercultural performances are performances at the interstices and at the intersections of cultures. They raise problems of authorship, authority and performance unities and expose a sense of cultural foreignness. Consequently, intercultural performance can be said to be meta-theatre that queries the construction of culture since it places alongside performance traditions that confront.

Music, as performative unit, is a significant line of action by which the intercultural spectacle is constructed. Integral to Western theatre, and certainly more so in traditional Asian performance forms, the deliberate ‘fusion’ and ‘blending’ of musical styles in intercultural performances underscore not a harmony of diverse sounds but the possible dissonance and discordance already performed by the visual and verbal texts. The paper thus seeks to examine, in particular, the musical elements in intercultural performances such as Ong Keng Sen’s Lear (Theatreworks, 1999) and explore the ways in which music could possibly intensify the confrontation of performative texts resulting in a disruption of performance unities. When watching and listening to Lear, the question of the ‘local’ thus arises not merely with identification and alienation from what is seen but also what is familiar and foreign to one’s ears.

The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage

This essay investigates an intricate drama of cultural identity in performances of Shakespeare on the nineteenth-century Melbourne stage. It considers the rivalry between Charles and Ellen Kean and their competitor, Barry Sullivan, for the two-month period in 1863 during which their Australian tours overlapped. This Melbourne Shakespeare war was anticipated,augmented, and richly documented in Melbourne’s papers: The Age, The Argus and Melbourne Punch. This essay pursues two seams of inquiry. The first is an investigation of the discourses of cultural and aesthetic value laced through the language of reviews of their Shakespearean roles.The essay identifies how reviewers register affective engagement with the performers in these roles, and suggests how the roles themselves reflected, by accident or design, the terms of the dispute. The second is concerned with the national identity of the actors. Kean, although born in Waterford, Ireland, had held the post of Queen Victoria’s Master of the Revels and identified himself as English. Sullivan, although born in Birmingham, was of Cork parentage and was identified as Irish by both his supporters and his detractors. This essay tracks the development of the actors’ national and artistic identities established prior to Melbourne and ask how they played out on in the context of the particularities of Australian reception. It shows that, in this instance, these actors were implicated in complex debates over national authority and cultural ownership.

Canaries Coalmines Thunderstones 2010:"Suppressing the Medical Model”; “Family at War”; and “The Fallenness of Humanity"

A Poetic Annual

Frontline Leisure::Securitizing tourism in the War on Terror

This article argues that the terrorist bombings of hotels, pubs and nightclubs in Bali in October 2002, and in Mombasa one month later, were inaugural moments in the post-9/11 securitization of the tourism industry. Although practices of tourism and terrorism seem antithetical – one devoted to travel and leisure, the other to political violence – this article argues that their entanglement is revealed most clearly in the counter-terrorism responses that brought the everyday lives of tourists and tourism workers, as well as the material infrastructure of the tourism industry, within the orbit of a global security apparatus waging a ‘war on terror’. Drawing on critical work in international relations and geography, this article understands the securitization of tourism as part of a much wider logic in which the liberal order enacts pernicious modes of governance by producing a terrorist threat that is exceptional. It explores how this logic is reproduced through a cosmopolitan community symbolized by global travellers, and examines the measures taken by the tourism industry to secure this community (e.g. the physical transformations of hotel infrastructure and the provision of counter-terrorism training).

A Randomized Controlled Trial of Trauma-Focused Cognitive Behavioral Therapy for Sexually Exploited, War-Affected Congolese Girls

To assess the efficacy of trauma-focused cognitive behavioral therapy (TF-CBT) delivered by nonclinical facilitators in reducing posttraumatic stress, depression, and anxiety and conduct problems and increasing prosocial behavior in a group of war-affected, sexually exploited girls in a single-blind, parallel-design, randomized,+ controlled trial.