“So the big rocks we put in the jar”: using situated reasoning to coordinate design activity

Ways in which situated reasoning featured in the course of action in the setting of a pair-programming software design exercise is examined, and how interactionally design was accomplished as a coordinated activity in situ.

WE

Inspired by the dystopian fiction of Yevgeny Zamyatin and the minimal synthesiser music of the early 80s, London-based artist duo Pil and Galia Kollectiv are joined by Victor M. Jakeman and Ruth Angel Edwards to present popular chart hits in new versions, turning songs about 'me' and 'you' into songs about 'us', and replacing the individual 'I' with the collective 'WE'. The performance WE reveals the latent politics of the love song by annihilating its liberal subject; through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal. Sonically, WE follows in the footsteps of bands like The Better Beatles, who sought to improve on the canon of popular music by stripping it bare, even. WE, performed at Kunsthall Oslo, Royal Standard Liverpool and ICA London, is also released on a 10" vinyl record and accompanied by a music video commissioned by Tate Britain for Tate Shots.

Don't we care?: the ethics and emotional labour of early years professionalism

This paper argues that early childhood education and care (ECEC) has a legitimate aspiration to be a 'caring profession' like others such as nursing or social work, defined by a moral purpose. For example, practitioners often draw on an ethic of care as evidence of their professionalism. However, the discourse of professionalism in England completely excludes the ethical vocabulary of care. Nevertheless, it necessarily depends on gendered dispositions towards emotional labour, often promoted by training programmes as 'professional' demeanours. Taking control of the professionalisation agenda therefore requires practitioners to demonstrate a critical understanding of their practice as 'emotion work'. At the same time, reconceptualising practice within a political ethic of care may allow the workforce, and new trainees in particular, to champion 'caring' as a sustainable element of professional work, expressed not only in maternal, dyadic key-working but in advocacy for care as a social principle.

D. H. Lawrence and the publication of Look! We Have Come Through!

In 1917 D.H. Lawrence's whole outlook on the social and cultural environment of his country was embodied in his attitude towards the literary marketplace. The suppression of The Rainbow in 1915 and his opposition to the war contributed to his feeling of detachment from what he called ‘the bourgeois world, the world which controls press, publication and all’. Presenting new archival evidence, this article examines the publishing history of the poetry volume Look! We Have Come Through, issued by Chatto & Windus in 1917. Closer examination of the motives of the individual editors involved in the production of the volume reveals why Lawrence was required to make changes to his text but also why the firm were eager to publish a volume that was to have little commercial impact. Issued at a critical moment in Lawrence's relationship with the marketplace, and in the history of literary modernism, the episode shows how, in spite of general hostility to his work, there were forces in the mainstream publishing market that were keen to embrace modern literary forms and take risks with the work of authors whose subject-matter was challenging and potentially dangerous.