To what extent has research conducted by the GaWC Research Network aided our understanding of large EU law firm geography?

This thesis explores whether a specific group of large EU law firms exhibited multiple common behaviours regarding their EU geographies between 1998 and 2009. These potentially common behaviours included their preferences for trading in certain EU locations, their usage of law firm alliances, and the specific reasons why they opened or closed EU branch offices. If my hypothesis is confirmed, this may indicate that certain aspects of large law firm geography are predictable – a finding potentially of interest to various stakeholders globally, including legal regulators, academics and law firms. In testing my hypothesis, I have drawn on research conducted by the Globalization and World Cities (GaWC) Research Network to assist me. Between 1999 and 2010, the GaWC published seven research papers exploring the geographies of large US and UK law firms. Several of the GaWC’s observations arising from these studies were evidence-based; others were speculative – including a novel approach for explaining legal practice branch office change, not adopted in research conducted previously or subsequently. By distilling the GaWC’s key observations these papers into a series of “sub-hypotheses”, I been able to test whether the geographical behaviours of my novel cohort of large EU law firms reflect those suggested by the GaWC. The more the GaWC’s suggested behaviours are observed among my cohort, the more my hypothesis will be supported. In conducting this exercise, I will additionally evaluate the extent to which the GaWC’s research has aided our understanding of large EU law firm geography. Ultimately, my findings broadly support most of the GaWC’s observations, notwithstanding our cohort differences and the speculative nature of several of the GaWC’s propositions. My investigation has also allowed me to refine several of the GaWC’s observations regarding commonly-observable large law firm geographical behaviours, while also addressing a key omission from the group’s research output.

CNN Interactive just got more interactive

Interactive gallery installation which playfully re-contextualised online news feeds from CNN’s website with a soundtrack of found music in order to comment on an online environment where 'serious' news and trivial 'infotainment' often occupy the same space. ‘CNN Interactive just got more interactive’ aimed to investigate the balance between information and ‘info-tainment’ on the web. It demonstrated how the authority and presence of global news corporations online could be playfully subverted by enabling the audience to add a variety of emotively titled soundtracks to the monolithic CNN Interactive website. The project also explored how a work could exist dually as website and gallery installation. ‘CNN interactive’ contributes to the taxonomy of new media art as a new form of contemporary art. One of the first examples in the world of a gallery installation using live Internet data, it is also one of the first attempts in a new media art context to address how individuals respond to and comprehend the changed nature of the news as an immediate phenomenon as relayed by network communications systems. 'CNN interactive’ continues Craighead and Thomson’s research into how live digital networked information can be re-purposed as artistic material within gallery installation contexts but with specific reference to online-international news events, rather than arbitrary data sources (see e-poltergeist, output 1). ‘CNN Interactive’ was commissioned by Tate Britain for the exhibition ‘Art and Money Online’. This was the first gallery exhibition in Tate Britain featuring work that utilised and explored new media as an artistic area, and the first work commissioned by the Tate to operate simultaneously as an online gallery artwork. Selected reviews and citations include ‘Digital Art’ by Christiane Paul, 2003; ‘Internet Art: The Online Clash of Culture and Commerce’ by Julian Stallabrass. (2002); ‘Thomson & Craighead’ by Lisa Le Feuvre for Katalog Journal of Photography and Video, Denmark. All work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, (Slade).

Sensory imagery in individuals who are blind and sighted: examining unimodal and multimodal forms

Introduction: Previous research has suggested that visual images are more easily generated, more vivid and more memorable than other sensory modalities. This research examined whether or not imagery is experienced in similar ways by people with and without sight. Specifically, the imabeability of visual, auditory and tactile cue words was compared. The degree to which images were multimodal or unimodal was also examined. Method: Twelve participants totally blind from early infancy and 12 sighted participants generated images in response to 53 sensory and non sensory words, rating imageability and the sensory modality, and describing images. From these 53 items, 4 subgroups of words, which stimulated images that were predominantly visual, tactile, auditory and low-imagery, respectively, were created. Results: T-tests comparing imageability ratings from blind and sighted participants found no differences for auditory and tactile words (both p>.1). Nevertheless, whilst participants without sight found auditory and tactile images equally imageable, sighted participants found images in response to tactile cue words harder to generate than visual cue words (mean difference: -0.51, p=.025). Participants with sight were also more likely to develop multisensory images than were participants without sight (both U≥15.0, N1=12, N2=12, p≤.008). Discussion: For both the blind and sighted, auditory and tactile images were rich and varied and similar language was used. Sighted participants were more likely to generate multimodal images. This was particularly the case for tactile words. Nevertheless, cue words that resulted in multisensory images were not necessarily rated as more imageable. The discussion considers whether or not multimodal imagery represent a method of compensating for impoverished unimodal imagery. Implications for Practitioners: Imagery is important not only as a mnemonic in memory rehabilitation, but also everyday uses for things such as autobiographical memory. This research emphasises both the importance of not only auditory and tactile sensory imagery, but also spatial imagery for people without sight.