Driving places - Marc Augé, non-places, and the geographies of England's M1 motorway

In this article I provide a critical account of the 'placing' of England's M1 motor-way. I start by critiquing Marc Auge's anthropological writings on 'non-places' which have provided a common point of reference for academics discussing spaces of travel, consumption and exchange in the contemporary world. I argue that Auge's ethnology of supermodernity results in a rather partial account of these sites, that he overstates the novelty of contemporary experiences of these spaces, and that he fails to acknowledge the heterogeneity and materiality of the social networks bound up with the production of non-places/places. I suggest that, rather than focusing on the presences and absences associated with the polarities of place and non-place, academics should examine the multiple, partial, dynamic and relational 'placings' which arise through the diverse performances and movements associated with travel, consumption and exchange. I then trace the topologies of England's M1 motorway, examining some of the different ways in which the motorway has been assembled, performed and placed over the past 45 years.

Everything and nothing project

An EPRSC ‘Partnerships for Public Engagement’ scheme 2010. FEC 122,545.56/UoR 10K everything and nothing is a performance and workshop which engages the public creatively with mathematical concepts: the Poincare conjecture, the shape of the universe, topology, and the nature of infinity are explored through an original, thought provoking piece of music theatre. Jorge Luis Borges' short story 'The Library of Babel' and the aviator Amelia Earhart’s attempt to circumnavigate the globe combine to communicate to audience key mathematical concepts of Poincare’s conjecture. The project builds on a 2008 EPSRC early development project (EP/G001650/1) and is led by an interdisciplinary team the19thstep consisting of composer Dorothy Ker, sculptor Kate Allen and mathematician Marcus du Sautoy. everything and nothing has been devised by Dorothy Ker and Kate Allen, is performed by percussionist Chris Brannick, mezzo soprano Lucy Stevens and sound designer Kelcey Swain. The UK tour targets arts-going audiences, from the Green Man Festival to the British Science Festival. Each performance is accompanied with a workshop led by Topologist Katie Steckles. Alongside the performances and workshops is a website, http://www.everythingandnothingproject.com/ The Public engagement evaluation and monitoring for the project are carried out by evaluator Bea Jefferson. The project is significant in its timely relation to contemporary mathematics and arts-science themes delivering an extensive programme of public engagement.

Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

The transformation of earth-system observations into information of socio-economic value in GEOSS

The Group on Earth Observations System of Systems, GEOSS, is a co-ordinated initiative by many nations to address the needs for earth-system information expressed by the 2002 World Summit on Sustainable Development. We discuss the role of earth-system modelling and data assimilation in transforming earth-system observations into the predictive and status-assessment products required by GEOSS, across many areas of socio-economic interest. First we review recent gains in the predictive skill of operational global earth-system models, on time-scales of days to several seasons. We then discuss recent work to develop from the global predictions a diverse set of end-user applications which can meet GEOSS requirements for information of socio-economic benefit; examples include forecasts of coastal storm surges, floods in large river basins, seasonal crop yield forecasts and seasonal lead-time alerts for malaria epidemics. We note ongoing efforts to extend operational earth-system modelling and assimilation capabilities to atmospheric composition, in support of improved services for air-quality forecasts and for treaty assessment. We next sketch likely GEOSS observational requirements in the coming decades. In concluding, we reflect on the cost of earth observations relative to the modest cost of transforming the observations into information of socio-economic value.

Ballet

This solo exhibition featured Ballet, a filmed performance and video installation by Szuper Gallery and an installation of original archive films. Ballet engages with recent histories of rural filmmaking, with movement and dance, linking everyday farming movements with the aesthetics of dance. The starting point for this new work was a series of archival films from the MERL collection, which were made for British farmers as a means both for information and for propaganda, to provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. Gestural performances and movements of background actors observed in those films were re-scripted into a new choreography of movement for camera to form a playful assemblage.

Emotional geographies of enthusiasm: belonging to the Telecommunications Heritage Group

Enthusiasm has long been associated with notions of impassioned mood, intensity of feeling and passionate dedication. Despite this burgeoning field of ‘enthusiastic geographies’, the conceptualisation of enthusiasm has until now remained largely untouched by geographers. This article develops recent work on emotional geographies in order to shed light on the emergence, experience and spatial implications of enthusiasm in group settings. It draws upon interview material with members of the UK’s Telecommunications Heritage Group in order to examine enthusiasm as an emotional affiliation. It is argued in this article that enthusiasm influences passions, performances and actions in space, revealing the mutual ‘closeness’, exclusivity of knowledgeability and sociability among participants.

Dual carrier modulation demapping methods and performances for wireless USB

Dual Carrier Modulation (DCM) was chosen as the higher data rate modulation scheme for MB-OFDM (Multiband Orthogonal Frequency Division Multiplexing) in the UWB (Ultra-Wide Band) radio platform ECMA-368. ECMA-368 has been chosen as the physical implementation for high data rate Wireless USB (W-USB) and Bluetooth 3.0. In this paper, different demapping methods for the DCM demapper are presented, being Soft Bit, Maximum Likely (ML) Soft Bit and Log Likelihood Ratio (LLR). Frequency diversity and Channel State Information (CSI) are further techniques to enhance demapping methods. The system performance for those DCM demapping methods simulated in realistic multi-path environments are provided and compared.

Mutated bodies: stage performances of Beckett's late prose texts by Mabou Mines (1984) and Gare St. Lazare Players, Ireland (2005)

An exploration of the stage adaptations of Beckett's fictional texts by the New York based Mabou Mines theatre company.

The Prophetic Sound: a day and night of noise cabaret(symposium of talks and live performances)

'The Prophetic Sound: a day and night of noise cabaret' is the first event hosted by Agency of Noise. This all day event brought together artists and academics whose subject of focus is noise (in creative practice). Artists from across the UK were invited to consider a future post-digital era in which everything with a microchip has malfunctioned, as a thought exercise and starting point for response through sound. In response to Jacques Attali’s claim that music is prophecy, The Prophetic Sound asks us to consider if noise can communicate in an unbridled, unfiltered, way that is somehow not culturally coded -before it becomes sound that is recognised, refined, manipulated and exploited for musical or other cultured purpose. Featuring students from Reading, Brighton, LCC and Goldsmiths alongside more established artists and academics from across the UK, this event brings into focus locations where pattern, timbre, pitch, organisation and sequencing of sounds become distinguishable from noise and asks us to consider, through diversion within such locations, new origins for future communication systems. The Prophetic Sound included talks, films, presentations and performances from: Ryo Ikeshiro / Inigo Wilkins / Neal Spowage / Dane Sutherland / Poulomi Desai / Benedict Drew / AAS / Polly Fibre / Steven Dickie As part of The Prophetic Sound, POLLYFIBRE (Ellison, C.) performed LIVE RECORDING with Amplified Scissors. This industrial activity by POLLYFIBRE short-circuits the complicated chain that is music production. The distinctive roles of consumer, producer, composer, and performer collapse in a series of live ‘cuts’ where vinyl discs are produced with amplified scissors. Production happens through action and action becomes production. A limited edition of 9 flexi discs were produced and available for special collectors at the event.

Innovative approaches For enhancing the flow of funds into the Benefit Sharing Fund of the International Treaty on Plant Genetic Resources for Food and Agriculture: an evaluation of options

This report assesses the implications and revenue-generating potential of options for reform of the International Treaty on Plant Genetic Resources for Food and Agriculture in the context of the structure of the global seed industry and the emerging landscape of plant variety innovation for different crops. The implementation of these options would require modifications of Treaty and provisions of the Standard Material Transfer Agreements to alter the nature of payment obligations related to different categories of products, the payment rates under different options and the coverage of crops in Annex-I to the Treaty.

Just another case of treaty interpretation? Reconciling humanitarian law and human rights law in the ICJ

This chapter offers a fresh critique of the approach taken by the International Court of Justice to the relationship between humanitarian law and human rights law. In so doing, it seeks to move beyond the intractable debates that have dominated this area, offering an original account of the relationship that is firmly grounded in general international law concepts of treaty interpretation.