Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

Brill Greek, Adobe Arno Pro, Adobe Text/Brevier Greek typefaces

Typeface design: a series of collaborative projects commissioned by Adobe, Inc. and Brill to develop extensive polytonic Greek typefaces. The two Adobe typefaces can be seen as extension of previous research for the Garamond Premier Pro family (2005), and concludes a research theme started in 1998 with work for Adobe’s Minion Pro Greek. These typefaces together define the state of the art for text-intensive Greek typesetting for wide character set texts (from classical texts, to poetry, to essays, to prose). They serve both as exemplar for other developers, and as vehicles for developing the potential of Greek text typography, for example with the parallel inclusion of monotonic and polytonic characters, detailed localised punctuation options, fluid handling of case-conversion issues, and innovative options such as accented small caps (originally requested by bibliographers, and subsequently rolled out to a general user base). The Brill typeface (for the established academic publisher) has an exceptionally wide character set to cover several academic disciplines, and is intended to differentiate sufficiently from its partner Latin typeface, while maintaining a clear texture in both offset and low-resolution print-on-demand reproduction. This work involved substantial amounts of testing and modifying the design, especially of diacritics, to maintain clarity the readability of unfamiliar words. All together these typefaces form a study in how Greek typesetting meets contemporary typographic requirements, while resonating with historically accurate styles, where these are present. Significant research in printing archives helped to identify appropriate styles, as well as originate variants that are coherent stylistically, even when historical equivalents were absent.

Eye candy for the blind: re-introducing Lyotard's Acinema into discourses on excess, motion and spectacle in contemporary Hollywood

Jean-François Lyotard's 1973 essay ‘Acinema’ is explicitly concerned with the cinematic medium, but has received scant critical attention. Lyotard's acinema conceives of an experimental, excessive form of film-making that uses stillness and movement to shift away from the orderly process of meaning-making within mainstream cinema. What motivates this present paper is a striking link between Lyotard's writing and contemporary Hollywood production; both are concerned with a sense of excess, especially within moments of motion. Using Charlie's Angels (McG, 2000) as a case study – a film that has been critically dismissed as ‘eye candy for the blind’ – my methodology brings together two different discourses, high culture theory and mainstream film-making, to test out and propose the value of Lyotard's ideas for the study of contemporary film. Combining close textual analysis and engagement with key scholarship on film spectacle, I reflexively engage with the process of film analysis and re-direct attention to a neglected essay by a major theorist, in order to stimulate further engagement with his work.

Does grammatical aspect affect motion event cognition? A cross-linguistic comparison of English and Swedish speakers

In this article, we explore whether cross-linguistic differences in grammatical aspect encoding may give rise to differences in memory and cognition. We compared native speakers of two languages that encode aspect differently (English and Swedish) in four tasks that examined verbal descriptions of stimuli, online triads matching, and memory-based triads matching with and without verbal interference. Results showed between-group differences in verbal descriptions and in memory-based triads matching. However, no differences were found in online triads matching and in memory-based triads matching with verbal interference. These findings need to be interpreted in the context of the overall pattern of performance, which indicated that both groups based their similarity judgments on common perceptual characteristics of motion events. These results show for the first time a cross-linguistic difference in memory as a function of differences in grammatical aspect encoding, but they also contribute to the emerging view that language fine tunes rather than shapes perceptual processes that are likely to be universal and unchanging.

The selected poetry and prose of Vittorio Sereni

2013 centenary corrected paperback edition of a 2006 publication, with introduction, co-translations, and notes

Contemporary women playwrights

A co-edited selection of extracts from plays by contemporary Irish women playwrights, with Introduction by Anna McMullan and Caroline Williams.

Performing performers: embodiment and intertextuality in the contemporary biopic

The actor’s body is of critical importance to the biopic’s representation of ‘real’ lives, to issues of physical and gestural resemblance, and in its role as the dramatic vehicle; acting out significant moments, embodying transformations. Through detailed examination of Beyond the Sea (2004), De-Lovely (2004), Molière (2007), films which foreground the construction, and constructedness, of life through performance and spectacle, this chapter explores the self-reflexive and intertexual embodiment of life stories. It focuses on the material details of performance in relation to distinctly contemporary strategies of film style and tone, and how these connect to questions of expectation and agency.

Contemporary ordinary language philosophy

There is a widespread assumption that ordinary language philosophy was killed off sometime in the 1960s or 70s by a combination of Gricean pragmatics and the rapid development of systematic semantic theory. Contrary to that widespread assumption, however, contemporary versions of ordinary language philosophy are alive and flourishing, but going by various aliases—in particular (some versions of) "contextualism" and (some versions of) "experimental philosophy". And a growing group of contemporary philosophers are explicitly embracing the methods as well as the title of ordinary language philosophy and arguing that it has been unfairly maligned and was never decisively refuted. In this overview, I will outline the main projects and arguments employed by contemporary ordinary language philosophers, and make the case that updated versions of the arguments made by ordinary language philosophers in the middle of the twentieth century are attracting renewed attention.

The lake-dwellings in Holderness, East Yorkshire, revisited: a journey into antiquarian and contemporary wetland archaeology

The story presented in this paper began in the 1880s with the discovery of five unusual wet sites in the low-lying region of Holderness, East Yorkshire, during drainage works: West Furze, Round Hill, Barmston Drain, Gransmoor and Kelk (fig 1). The changing interpretation of the significance of these wet sites, from contemporary local accounts to their 'expert' publication early in the twentieth century (Smith 791I), contributed to the tale of the Holderness lake-dwellings, echoing the then already famous lake-dwellings of the Alpine region and elsewhere in Europe (Keller 1878). The tale of the Holderness lake-dwellings survived more recent work intact, as excavators approached the sites without challenging the preconception of these being genuine lake settlements (eg Varley 1968).