Rhythm, Rhymes, and Pleasure: Mesostics on Ciaran Carson's The Star Factory

A set of 138 "mesostics" from Ciaran Carson's novel "The Star Factory" poems derived from the chance determination procedure devised by John Cage and set out in the score of his "Roaratorio: An Irish Circus on Finnegan's Wake," a musical realisation of James Joyce's novel 'Finnegan's Wake." The publication forms part of a portfolio on the project "Owenvarragh: A belfast Circus on The Star Factory", published in the special John Cage issue of this journal.

Maximize your Pleasure

A essay on the epicurean philosophy of happiness and well-being.

Protestantism, Spectacle, Motherhood and Vice: Dublin's New Pleasure Gardens

In 1748, Bartholomew Mosse, a curious combination of surgeon, obstetrician and entertainment impresario, established a pleasure garden on the northern fringes of Dublin. Ostensibly designed to fund the construction of a maternity hospital to be located adjacently, Mosse’s New Pleasure Gardens became one of the premier leisure resorts in Dublin. This was to have a profound effect on the city’s urban form. Within a few years the gardens became an epicentre of speculative development as the upper classes jostled to build their houses in the vicinity. Meanwhile, the creation nearby of Sackville Mall, a wide and generous strolling ground, established a whole section of the city dedicated to haute spectacle, display and leisure. Like other pleasure gardens in the British Isles, Mosse’s venture introduced new, commodified forms of entertainment. In the colonial context of eighteenth-century Ireland, however, ‘a land only recently won and insecurely held’ (Foster, 1988) by the Protestant Anglo-Irish settler class, the production of culture and spectacle was perhaps more significant than elsewhere. Indeed, the form of Mosse’s gardens echoed the private city gardens of a key figure in the Anglo-Irish aristocracy, while the hospital itself was constructed in a style of a Palladian country house, symbol of colonial presence in the countryside. However, like other pleasure gardens, the mix of music and alcohol, the heterogeneous crowd culled from across social and gender boundaries, and a landscape punctuated with secluded corners, meant that it also acquired a dubious reputation as a haunt of louche and illicit behaviours. The curious juxtaposition between a maternity hospital and pleasure garden, therefore, begins to assume other, hitherto hidden complexities. These are borne out by a closer examination of the architecture of the hospital, the shape of its landscape and the records of its patrons and patients.

A 'ruin of all space, shattered glass and toppling masonry': Joyce's Orientalism in the Context of 11 September 2001 and 1922

Chapters 3 and 15 of Joyce's Ulysses exhibit glimpses of three dreams, fantasies and eventual nightmares linked to the figure of 'Haroun al Raschid.' Historically speaking, the latter was a powerful Caliph of Baghdad, a medieval potentate about whom many of the most memorable of The Thousand and One Nights or The Arabian Nights' Entertainments were once and then again spun as tales of pleasure. Joyce seizes upon the figure of 'Haroun al Raschid' as a fictive measure to articulate the 'orientalist' fantasies of Stephen Dedalus and Leopold Bloom. However, this evocative figure of Near Eastern history, of fabulous narrative and the progressively converging fantasies of two modern European literary characters is riddled with paradox. Such material provides Joyce a perceptive and proleptic sense of the paradoxes and brutal historical contradictions through which Western and Eastern dreams of theocratic nationalism, ethnic zealotry, colonial rebellion and Zionism are to be played out. W. B. Yeats' poem 'The Gift of Harun al-Raschid', written in 1923, the year after the book publication of Ulysses, provides both a fitting foil and a significant socio-historical point of reference for Joyce's own figurative use of the Caliph of Baghdad.

Negotiation of risk in sexual relationships and reproductive decision-making amongst HIV sero-different couples

The paper focuses on the ways in which medical discourses of HIV transmission risk, personal bodily meanings and reproductive decision-making are re-negotiated within the context of sero-different relationships, in which one partner is known to be HIV-positive. Eighteen in-depth interviews were conducted with 10 individuals in Northern Ireland during 2008–2009. Drawing on an embodied sociological approach, the findings show that physical pleasure, love, commitment, a desire to conceive without medical interventions and a dislike of condoms within regular ongoing relationships, shaped individuals' sense of biological risk. In addition, the subjective logic that a partner had not previously become infected through unprotected sex prior to knowledge of HIV status and the added security of an undetectable viral load significantly impacted upon women's and, especially, men's decisions to have unprotected sex in order to conceive. The findings speak to the importance of reframing public health campaigns and clinical counselling discourses on HIV risk transmission to acknowledge how couples negotiate this risk, alongside pleasure and commitment within ongoing relationships.

The Lake House Extension

The project comprises of the re-ordering and extension of a 19th century country house in the extreme south west of Ireland. The original house is what can be termed an Irish house of the middle size. A common typology in 19th century Ireland the classical house of the middle size is characterised by a highly ordered plan containing a variety of rooms within a square or rectangular form. A strategy of elaborating the threshold between the reception rooms of the house and the garden was adopted by wrapping the house in a notional forest of columns creating deep verandas to the south and west
of the main living spaces. The grid of structural columns derived its proportions directly from the house. The columns became analogous with the mature oak and pine trees in the garden beyond while the floor and ceiling were considered as landscapes in their own right, with the black floor forming hearth stone, kitchen island and basement cellar and the concrete roof inflected to hold roof lights, a chimney and a landscape of pleasure on the roof above.

Aims / Objectives / Questions
1To restore and extend a “house of the middle size”, a historic Irish typology, in a sympathetic manner.
2To address the new build accommodation in a sustainable manner through strategies associated with orientation, micro climates, materiality and engineering both mechanical and structural.
3To explore and develop an understanding for two spatial orders, the enfilade room and non directional space of the grid.
4The creation of deep threshold space.
5Marbling as a finish in fair faced concrete
6Concrete as a sustainable building material

Government Aid and Film Legislation : 'An elastoplast to stop a haemorrhage'

This chapter explores the relationship between the British film industry and the government throughout the 1970s and evaluates the levels of support offered to the industry in an uncertain political deade.

British Film Censorship and the BBFC in the 1970s

This chapter is an exploration of film censorship in the 1970s and the role of the British Board of Film Censors. It draws on material from the BBFC archive files and addresses issues of popular taste, taboo and changing standards of permission.

Jazz in Athens: Frustrated Cosmopolitans in a Music Subculture

This paper presents an ethnographic account of jazz music in Athens. The small scene under scrutiny is mainly populated by professional session instrumentalists of the Greek popular music scene who perform jazz as a side activity for their own pleasure. In the process, they construct a conceptual dichotomy between ‘work’ and ‘play’. Drawing on the author’s extended involvement in this scene, and focusing on private interviews with musicians, this article unveils the discourses of cosmopolitanism invoked through local jazz music making. The ethnographic material presented aims to illustrate how even a small subculture can serve as a terrain for contesting cosmopolitan imaginaries.

Dublin’s ephemeral and imaginary architectures

In 1989, the Irish architectural practice O’Donnell and Tuomey were commissioned to build a temporary pavilion to represent Ireland at the 11 Cities/11 Nations exhibition at Leeuwarden in the Netherlands. Citing Peter Smithson, John Tuomey suggested the pavilion, which drew inspirations from the forms and materials of the modern Irish barn, embodied an intention ‘not just to build but to communicate’. Its subsequent reassembly for the inauguration of the Irish Museum of Modern Art in the courtyard of the seventeenth-century Royal Hospital Kilmainham in Dublin in 1991, drew comparisons between the urban sophistication of this colonial building, its svelte new refit, and the rural expression of O’Donnell + Tuomey’s barn. It was, one critic recently noted, as if ‘a wedding had been crashed by a country cousin who had forgotten to clean his boots’.
It has been argued that temporary or ephemeral pieces of architecture, unburdened by the traditional constraints of firmitas or utilitas, have the ability to offer a concise distillation of meaning and intention. Approaching the qualities of rhetoric, such architectures share similarities with the monument and yet differ in fundamental ways. Their rapid construction in lightweight materials can allow for an almost instantaneous negotiation of zeitgeist. And, unlike the monument, from the outset the space and form of these installations is designed to disappear.
This paper analyses the ephemeral architectures of Dublin in the modern period contextualising their qualities and intentions as they manifest themselves across colonial, post-colonial and contemporary epochs. It finds origins in the theatrical sets of the late eighteenth century and traces their movements into the semi-public sphere of the pleasure garden and finally into the theatre of the streets. It is here that temporary architecture in the city has been at its most potent, allowing the amplification or subversion of the meanings of much larger spaces. Historically, much of Dublin’s most conspicuous instances of ephemeral architecture have been realised as a means of articulating mass spectacle in political, religious or nationalistic events. And while much of this has sought to confirm dominant ideologies, it has also been possible to discern moments of opposition.
The contemporary period, however, has arguably witnessed a shift in ephemeral architectures from explicitly representing ‘positive ideologies’ towards something more oblique or nebulous. This turn towards abstraction in form and space has rendered an especially communicative form of architecture particularly elusive. By examining continuities within the apparent disjuncture between historical and contemporary examples, this paper begins to unpick the language of recent ephemeral architecture in Dublin and situate it within wider global trends where political and economic imperatives are often simultaneously obscured and expressed in public space by a vocabulary of universality. As Jurgen Habermas has suggested, the contemporary value given to the transitory and the ephemeral ‘discloses a longing for an undefiled, immaculate and stable present’.

Cinema-going at the Southampton Odeon: Exhibition Data and Popular Taste

Cinemagoing data from the 1970s. A case study of the data from the Southampton Odeon