Class and Performance in the Age of Global Capitalism

This article addresses the relative absence of class-based analysis in theatre and performance studies, and suggests the reconfiguration of class as performance rather than as it is traditionally conceived as an identity predicated solely on economic stratification. It engages with the occlusion of class by the ascendancy of identity politics based on race, gender and sexuality and its attendant theoretical counterparts in deconstruction and post-structuralism, which became axiomatic as they displaced earlier methodologies to become hegemonic in the arts and humanities. The article proceeds to an assessment of the development of sociological approaches to theatre, particularly the legacy of Raymond Williams and Pierre Bourdieu. The argument concludes with the application of an approach which reconfigures class as performance to the production of Declan Hughes's play Shiver of 2003, which dramatizes the consequences of the dot.com bubble of the late 1990s for ambitious members of the Irish middle class.

Stone-built heritage inventory and ‘performance in use’ condition assessment of stonework

An academic–industrial partnership was formed with the aim of constructing a natural stone database for Northern Ireland that could be used by the public and practitioners to understand both the characteristics of the stone used in construction across Northern Ireland and how it has performed in use, and, through a linked database of historical quarries, explore the potential for obtaining locally sourced replacement stone. The aims were to improve the level of conservation specification by those with a duty of care for historical structures, and to enhance the quality of the conservation work undertaken by archi- tects and contractors through their improved knowledge of stone and stone decay processes.

Stability and performance enhancements of Electrokinetic-Fenton soil remediation

Electrokinetic process is a potential in situ soil remediation process which transports the contaminants via electromigration and electroosmosis. For organic compounds contaminated soil, Fenton’s reagent is utilized as a flushing agent in electrokinetic process (Electrokinetic-Fenton) so that removal of organic contaminants could be achieved by in situ oxidation/destruction. However, this process is not applied widely in industries as the stability issue for Fenton’s reagent is the main drawback. The aim of this mini review is to summarize the developments of Electrokinetic-Fenton process on enhancing the stability of Fenton’s reagent and process efficiency in past decades. Generally, the enhancements are conducted via four paths: (1) chemical stabilization to delay H2O2 decomposition, (2) increase of oxidant availability by monitoring injection method for Fenton’s reagent, (3) electrodes operation and iron catalysts and (4) operating conditions such as voltage gradient, electrolytes and H2O2 concentration. In addition, the types of soils and contaminants are also showing significant effect as the soil with low acid buffering capacity, adequate iron concentration, low organic matter content and low aromatic ring organic contaminants generally gives better efficiency.

Compositional and Performance Mapping in Computer Chamber Music: A Case Study

The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Through descriptions of the development of the piece, development of the hardware and software interfaces, lessons learned through rehearsal, and self-reporting by the participants, the rich musical possibilities and technical challenges of the integration of digital musical instruments into computer chamber music are demonstrated.