Landscapes of the invisible: sounds, cosmologies and poetics of space

In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.

Local strategic partnerships in England: the continuing search for collaborative advantage, leadership and strategy in urban governance

Local Strategic Partnerships are being established in England to provide an inclusive, collaborative and strategic focus to regeneration strategies at the local level. They are also required to rationalise the proliferation of local and micro-partnerships set up by a succession of funding initiatives over the last 25 years. This article explores their remit, resources and membership and discusses how this initiative relates to theoretical work on urban governance, community engagement and leadership. It concludes by debating whether urban policy in England is now entering a new and more advanced phase based on inter-organisational networks with a strategic purpose. But questions remain about whether the institutional capacity is sufficient to deliver strong local leadership, accountability and community engagement.

How women use and experience western herbal practice for distress: implications for health care and self-management approaches.

Introduction: In the UK, common mental health disorders account for one in five of all work days lost, and cost employers £25bn each year. Herbal medicine has been shown to potentially be of use for mental distress, including conditions like anxiety. In 2008, 35% of British adults surveyed claimed to have used herbal medicine at some stage, the majority of whom were women. However, there is little research into how the users of western herbal medicine (WHM) experience the practice of herbal medicine, or how these experiences may change over time. Our research is studying women in the south-east of the UK who are suffering from distress (either as a primary complaint, or associated with another condition) who are seeking the services of a herbalist who practices WHM. Aim: To investigate the experiences of western herbal practice by women who are suffering with distress. Methods: The study is using semi-structured interviews of around thirty women, to elicit patient narratives at two time points. Thematic analysis is being used to consider how distressed women perceive and experience their distress, their reasons for using WHM, what contribution the women perceive the consultation and treatment with WHM may or may not make to their wellbeing, and whether their experiences change over time. Currently, sixteen women have been interviewed, and a preliminary thematic analysis has commenced. Results: Preliminary finding suggest that not only do women internalise their distress, but that they are surprisingly isolated in how they deal with it, whilst some also express social embarrassment about their experiences. The women perceived that their distress is not always considered seriously from their medical practitioners’ point of view. These women are drawn to herbalists not only in a search for effective treatment, but also to be given time to have their story heard, to form a collaborative relationship, and to attempt to regain some control of their life. The herbal treatment is valued due to its perceived naturalness, and reduced risk of adverse side effects. Nevertheless, WHM is just one of a number of self-care strategies that women utilise to help manage their distress. Discussion: Effective treatment is not only dependent upon the herbs, but also upon an effective therapeutic relationship. Feeling that the herbalist hears their story, provides a treatment plan that is individually tailored to the patient, and is available (even outside of the consultation) are all important in helping to establish this relationship.

Collaborative art activism – a UK perspective

Loraine traced the parallels and divergences between the art activism of Carole Conde and Karl Beveridge and herself, both in her solo practice and earlier work with artist Peter Dunn.