John of Worcester and the science of history

Although the ‘chronicle of chronicles’ compiled at Worcester c1095-c1140 is now firmly attributed to John of Worcester, rather than Florence, major questions remain. A central issue is that the semi-autograph manuscript of the chronicle (now Oxford, Corpus Christi College, Ms 157) underwent several alterations to its structure and contents, as codicological evidence demonstrates. These included the incorporation of important illuminations, which have been surprisingly little considered in their overall manuscript context. This article focuses on these illuminations, and will argue that their presence in this version of the chronicle makes it something even more distinctive than the learned, revisionist chronological work of Marianus Scotus upon which it was based. John of Worcester’s chosen images are linked not only to his political narrative but also to theological works and to cutting-edge science, newly translated from Arabic. The presence of such miniatures in a twelfth-century chronicle is unique, and they are central to the final form given to the Worcester chronicle by John of Worcester himself in this key manuscript. Their analysis thus brings into focus the impressive assembly of materials which the chronicle offered to readers, to shape their understanding of ongoing events.

The trilogy of John of God

Monteiro’s assertion of the almighty auteur, after the post-structuralist and post-modern experiences, which had shattered the author and his work in theory and practice, reinstates an authority aimed at organising the chaos caused by the lack of narrative. In a way, therefore, Monteiro’s output is conservative, displaying a peculiar atemporal style, which seems entirely immune to fashion. On the other hand, however, few contemporary films could be more radical than his. Authorship, in his case, means the absence of limits and total freedom of expressing his obsessive world.

John Lewis Partnership lessons in logical incrementalism and organic growth: a case study and interview with the Chairman, Mr Charlie Mayfield

Purpose – The purpose of this paper is to demonstrate how strategy is developed and implemented in an organisation with an unusual ownership model. Partnerships are not a prevalent form of ownership but as this case demonstrates they can be extremely effective. Furthermore this case demonstrates how logical incrementalism can be used to implement major strategic decisions. Design/methodology/approach – The paper draws on company documentary evidence and a semi-structured interview with Mr Charlie Mayfield, Chairman of John Lewis Partnership. A chairman has a helicopter view of business whose perspectives are rarely captured by strategy researchers. This case study offers an insight into strategic thinking of a chairman and chief executive of a successful company. Research limitations/implications – The case study and interview offer a unique insight into the rationale behind strategic decisions within a successful partnership that has grown organically in a highly competitive retail market without high gearing. Originality/value – This case study sheds light on strategic moves within partnership. Furthermore, very few case studies offer insight into the thinking of a chief executive who has successfully managed a business in a turbulent environment.

CASCADE: An Agent Based Framework For Modeling The Dynamics Of Smart Electricity Systems

The Complex Adaptive Systems, Cognitive Agents and Distributed Energy (CASCADE) project is developing a framework based on Agent Based Modelling (ABM). The CASCADE Framework can be used both to gain policy and industry relevant insights into the smart grid concept itself and as a platform to design and test distributed ICT solutions for smart grid based business entities. ABM is used to capture the behaviors of diff erent social, economic and technical actors, which may be defi ned at various levels of abstraction. It is applied to understanding their interactions and can be adapted to include learning processes and emergent patterns. CASCADE models ‘prosumer’ agents (i.e., producers and/or consumers of energy) and ‘aggregator’ agents (e.g., traders of energy in both wholesale and retail markets) at various scales, from large generators and Energy Service Companies down to individual people and devices. The CASCADE Framework is formed of three main subdivisions that link models of electricity supply and demand, the electricity market and power fl ow. It can also model the variability of renewable energy generation caused by the weather, which is an important issue for grid balancing and the profi tability of energy suppliers. The development of CASCADE has already yielded some interesting early fi ndings, demonstrating that it is possible for a mediating agent (aggregator) to achieve stable demandfl attening across groups of domestic households fi tted with smart energy control and communication devices, where direct wholesale price signals had previously been found to produce characteristic complex system instability. In another example, it has demonstrated how large changes in supply mix can be caused even by small changes in demand profi le. Ongoing and planned refi nements to the Framework will support investigation of demand response at various scales, the integration of the power sector with transport and heat sectors, novel technology adoption and diffusion work, evolution of new smart grid business models, and complex power grid engineering and market interactions.

And the night was kind. 'Ruskin's Ponds' book works by John Woodman

A journal article published in the Blue Notebook: Journal for artists' books. Vol 8 No 2, April 2014 exploring the work of video and book artist John Woodman and his relationship with John Ruskin's life and landscapes.

Johnson and Juvenal in John Ashbery's 'An Additional Poem' (1962)

A note on Ashbery's metaphorical and intertextual practice.

John Wikins

My essay is an analysis of the paintings of John Wilkins that contextualizes his mode of abstract painting within the semiological turn of post eighties painting.