Rethinking Professional Practice: The Logic of Competition and the Crisis of Identity in Housing Practice

The relationship between professionalism, education and housing practice has become increasingly strained following the introduction of austerity measures and welfare reforms across a range of countries. Focusing on the development of UK housing practice, this article considers how notions of professionalism are being reshaped within the context of welfare retrenchment and how emerging tensions have both affected the identity of housing professionals and impacted on the delivery of training and education programmes. The article analyses the changing knowledges and skills valued in contemporary housing practice and considers how the sector has responded to the challenges of austerity. The central argument is that a dominant logic of competition has culminated in a crisis of identity for the sector. Although the focus of the article is on UK housing practice, the processes identified have a wider relevance for the analysis of housing and welfare delivery in developed economies.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.