Memorials of old north Wales,

Historic Wales, by P. H. Ditchfield.--The church of north Wales, by G. H. Jones.--The cathedral churches of Bangor and St. Asaph; The religious houses of north Wales; The parish churches of north Wales, by H. H. Hughes.--The Eisteddvod, by L. J. Roberts.--The poetry of north Wales, by Sir Edward Anwyl.--The castles of north Wales, by H. H. Hughes.--Llewelyn the Great; Llewelyn the Last, by W. L. Williams.--The social and economic conditions of north Wales in the 14th-16th centuries, by Edward Owen.--The cromlechs of north Wales, by J. E. Lloyd.--Owen Glyndwr, by L. J. Roberts.--Archbishop Williams, by J. A. Price.--The origin of nonconformity in north Wales, by J. H. Davies.--Relics, civic plate, regalia, &c., by E. A. Jones.--Index.

Journal of the British Archaeological Association.

Avery index to architectural periodicals. Second edition. Revised and enlarged. Supplement

Place-renewing leadership:trajectories of change for mature manufacturing regions in Europe

The forces of globalisation now impacting on local economies pose threats to the existing paradigm of competences and routines, yet simultaneously offer opportunities to integrate new knowledge and learning. This is particularly pertinent with respect to Europe’s ‘mature regions’, which are undergoing a major economic restructuring by trying to shift from traditional manufacturing activities to hybrid activities that comprise a combination of manufacturing and a higher component of intangible inputs and related knowledge service activities. The objective of the article is to discuss the concept of ‘place leadership’ by looking at how the embedded skills, knowledge and cumulated learning of a place can be used by its institutional infrastructure to identify sustainable growth trajectories. In other words, its aim is to explore how the economic, social, institutional and cultural aspects of places shape the opportunities for upgrading and renovation drawing upon their historical specialisation. The conceptual contribution of the article draws on two case studies, in the West Midlands, UK and in Prato, Tuscany, where we study the processes of decision-making, forms of leadership and ultimately the nature of local leadership.

Alberto Girri, or poetry as hermeneutic reason

One of the main factors that makes the poetry of the Argentine Alberto Girri (1919–1991) a whole world of its own is my argument that in a fragmentary world like the present, poets search for a formal integrity which in the act of reading creates not only their own inner world but also the readers'. It is important to insist on this turning point in which most of the Symbolist work is circumscribed. Later, this would be of capital importance for the avant-garde as well as for the post-avant-garde: Mallarmé's Un coup de dés jamais n'abolira le hasard would make poetry something absolutely modern. An original distribution of the white and black opened a new space for the text, shifting the then dominant phonocentrism. My close reading of this author as well as the given theoretical frame avoids the failure into an instrumental use either of the page or of the writing but ignoring physical reciprocity. What follows is, that this “shift” privileged heightened vision over audition of the “musical score”. Thus, an intense materialization of the language is achieved that increases the anonymity of the text. ^ Following this new arrangement of words, so to speak, Girri's poetic work now drives deeply inside words in order to lend them dignity from meaning. I conclude that the best way to “render” this poetry with religious aim (L. “re-ligare” to bind the fragmented) is by way of the philosophy of language. I also propose that Girri's task as a translator, mainly from English poetry, represented—with Jorge Luis Borges—a paradigmatic shift in the Spanish American horizon which had been under “logocentric” French rule since the time of Independence. This seismic change of perspective in late Modernism and post-Modernism is represented by a radical screening of Romance rhetoric, it was a shift not only over the inherited mother tongue but over his own work which was increasingly moving towards transcendent and/or metaphysical poetry. ^ Therefore, I did find that Girri's poem was constructed as a mirror closely related to that which was represented in the angelological tradition. ^

Imperfect indifference : the rhythm, structure and politics of neutrality

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.

The New Scots: Migration and Diaspora in Scottish Poetry.

This chapter examines the poetry of Scottish South Asians, the "New Scots" who bring a whole history of displacement, dislocation and relocation with them, as their memory of the "elsewhere" enters their writing. Their voices are significant as they embody multicultural Scotland with postcolonial dialects that signify an encounter in the Third Space where they are affected by and affect the "host" community. This chapter will question whether the writing of "New Scots" has added more than just "colour" to Scottish Poetry, as it traces the recent migrant history and analyses the lives and "voices" of diasporic communities as evident in their poetry. The objective is to assess how the new "voices" have blended in, expanded and/or challenged the boundaries of what defines Scottish Poetry, and determine whether they form a "community" of poets distinguished by the complexity of their regional allegiances, both past and present.

Utilising presence in places to support mobile interaction

Physical places are given contextual meaning by the objects and people that make up the space. Presence in physical places can be utilised to support mobile interaction by making access to media and notifications on a smartphone easier and more visible to other people. Smartphone interfaces can be extended into the physical world in a meaningful way by anchoring digital content to artefacts, and interactions situated around physical artefacts can provide contextual meaning to private manipulations with a mobile device. Additionally, places themselves are designed to support a set of tasks, and the logical structure of places can be used to organise content on the smartphone. Menus that adapt the functionality of a smartphone can support the user by presenting the tools most likely to be needed just-in-time, so that information needs can be satisfied quickly and with little cognitive effort. Furthermore, places are often shared with people whom the user knows, and the smartphone can facilitate social situations by providing access to content that stimulates conversation. However, the smartphone can disrupt a collaborative environment, by alerting the user with unimportant notifications, or sucking the user in to the digital world with attractive content that is only shown on a private screen. Sharing smartphone content on a situated display creates an inclusive and unobtrusive user experience, and can increase focus on a primary task by allowing content to be read at a glance. Mobile interaction situated around artefacts of personal places is investigated as a way to support users to access content from their smartphone while managing their physical presence. A menu that adapts to personal places is evaluated to reduce the time and effort of app navigation, and coordinating smartphone content on a situated display is found to support social engagement and the negotiation of notifications. Improving the sensing of smartphone users in places is a challenge that is out-with the scope of this thesis. Instead, interaction designers and developers should be provided with low-cost positioning tools that utilise presence in places, and enable quantitative and qualitative data to be collected in user evaluations. Two lightweight positioning tools are developed with the low-cost sensors that are currently available: The Microsoft Kinect depth sensor allows movements of a smartphone user to be tracked in a limited area of a place, and Bluetooth beacons enable the larger context of a place to be detected. Positioning experiments with each sensor are performed to highlight the capabilities and limitations of current sensing techniques for designing interactions with a smartphone. Both tools enable prototypes to be built with a rapid prototyping approach, and mobile interactions can be tested with more advanced sensing techniques as they become available. Sensing technologies are becoming pervasive, and it will soon be possible to perform reliable place detection in-the-wild. Novel interactions that utilise presence in places can support smartphone users by making access to useful functionality easy and more visible to the people who matter most in everyday life.

Mapping the uncharted territory of folk drama

Students of mumming and guising plays – the seasonal verse dramas performed for over 200 years throughout much of England, Scotland, and northern Ireland – have suffered from having too much information to work with. The first part of this poster presentation outlines and illustrates the situation. There are thousands of places where the plays are known to have been performed, and hundreds of texts have been collected. Furthermore, the plays show some tantalising similarities while simultaneously exhibiting the wide range of variation one would expect from orally transmitted dialogue. Until recently, scholars openly admitted to not knowing where to start with such a flood of material, to the extent that some dismissed the texts altogether as unimportant and irrelevant, focussing instead on the "actions". Fortunately, the introduction of computers has managed to break the impasse and is aiding the intellectual process. Part two shows a case study for one of the tools on the Master Mummers website - the Folk Play Scripts Explorer – which is based on a large database of digitised texts and a typology for individual lines. This allows researchers to search for lines, explore textual variants, and map their geographical distribution. This is yielding some interesting surprises. Seemingly trivial variations often turn out to have discrete distribution patterns, while it transpires that certain "ubiquitous" lines have restricted geographical ranges. Thus, the Scripts Explorer is providing novel insights into how the plays evolved and spread.

Imperfect indifference : the rhythm, structure and politics of neutrality

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.

Hyperlinks in e-books : expanding the functionality of end-notes

With its powerful search engines and billions of published pages, the Worldwide Web has become the ultimate tool to explore the human experience. But, despite the advent of the digital revolution, e-books, at their core, have remained remarkably similar to their printed siblings. This has resulted in a clear dichotomy between two ways of reading: on one side, the multi-dimensional world of the Web; on the other, the linearity of books and e-books. My investigation of the literature indicates that the focus of attempts to merge these two modes of production, and hence of reading, has been the insertion of interactivity into fiction. As I will show in the Literature Review, a clear thrust of research since the early 1990s, and in my opinion the most significant, has concentrated on presenting the reader with choices that affect the plot. This has resulted in interactive stories in which the structure of the narrative can be altered by the reader of experimental fiction. The interest in this area of research is not surprising, as the interaction of readers with the fabric of the narrative provides a fertile ground for exploring, analysing, and discussing issues of plot consistency and continuity. I found in the literature several papers concerned with the effects of hyperlinking on literature, but none about how hyperlinked material and narrative could be integrated without compromising the narrative flow as designed by the author. It led me to think that the researchers had accepted hypertextuality and the linear organisation of fiction as being antithetical, thereby ignoring the possibility of exploiting the first while preserving the second. All the works I consulted were focussed on exploring the possibilities provided to authors (and readers) by hypertext or how hypertext literature affects literary criticism. This was true in earlier works by Landow and Harpold and remained true in later works by Bolter and Grusin. To quote another example, in his book Hypertext 3.0, Landow states: “Most who have speculated on the relation between hypertextuality and fiction concentrate [...] on the effects it will have on linear narrative”, and “hypertext opens major questions about story and plot by apparently doing away with linear organization” (Landow, 2006, pp. 220, 221). In other words, the authors have added narrative elements to Web pages, effectively placing their stories in a subordinate role. By focussing on “opening up” the plots, the researchers have missed the opportunity to maintain the integrity of their stories and use hyperlinked information to provide interactive access to backstory and factual bases. This would represent a missing link between the traditional way of reading, in which the readers have no influence on the path the author has laid out for them, and interactive narrative, in which the readers choose their way across alternatives, thereby, at least to a certain extent, creating their own path. It would be, to continue the metaphor, as if the readers could follow the main path created by the author while being able to get “sidetracked” into exploring hyperlinked material. In Hypertext 3.0, Landow refers to an “Axial structure [of hypertext] characteristic of electronic books and scholarly books with foot-and endnotes” versus a “Network structure of hypertext” (Landow, 2006, p. 70). My research aims at generalising the axial structure and extending it to fiction without losing the linearity at its core. In creative nonfiction, the introduction of places, scenes, and settings, together with characterisation, brings to life the facts without altering them; while much fiction draws on facts to provide a foundation, or narrative elements, for the work. But how can the reader distinguish between facts and representations? For example, to what extent do dialogues and perceptions present what was actually said and thought? Some authors of creative nonfiction use end-notes to provide comments and citations while minimising disruption the flow of the main text, but they are limited in scope and constrained in space. Each reader should be able to enjoy the narrative as if it were a novel but also to explore the facts at the level of detail s/he needs. For this to be possible, end-notes should provide a Web-like way of exploring in more detail what the author has already researched. My research aims to develop ways of integrating narrative prose and hyperlinked documents into a Hyperbook. Its goal is to create a new writing paradigm in which a story incorporates a gateway to detailed information. While creative nonfiction uses the techniques of fictional writing to provide reportage of actual events and fact-based fiction illuminates the affectual dimensions of what happened (e.g., Kate Grenville’s The Secret River and Hilary Mantel’s Wolf Hall), Hyperbooks go one step further and link narrative prose to the details of the events on which the narrative is based or, more in general, to information the reader might find of interest. My dissertation introduces and utilises Hyperbooks to engage in two parallel types of investigation Build knowledge about Italian WWII POWs held in Australia and present it as part of a novella in Hyperbook format. Develop a new piece of technology capable of extending the writing and reading process.

Cultural identity in landscape architecture, renovation of Managua's lakeside

This thesis examines a design approach in landscape architecture in which cultural and historical values are reinterpreted in a contemporary urban environment. The site of this project is located in Managua's lakeside area, which was destroyed by hurricane Mitch in 1998. The lakeside area has been an attraction to Managua's residents because of its beautiful views and fresh breezes. The majority of Nicaragua's population is of indigenous descent; however, Managua's urban environment is predominantly of European influence. The pre-Columbian heritage of Nicaraguans is hidden in their cultural expressions, such as the names of places and religious rituals. This project provides a new lakeside area for Managua in which cultural identity in landscape architecture is represented in the use of the site and in a rescue of Managua's residents' pride in their pre-Columbian heritage. The lakeside renovation was planned using pre-Columbian design methodology and vocabulary to create a functional and environmentally sens~velandscape.

Critique groups : a technique for the author’s toolbox?

With a lack of places to gain an education in the craft of romance writing, novelists have few places to turn to gain real feedback. This paper investigates an alternative to textbooks, conferences, and workshops through an examination of the role provided to the writer by critique groups. How these groups work, how they benefit an author, and the critique groups as a whole are discussed. This work studies the form of Peer Assessment and Learning (PAL) and compares the technique used by educational institutions all over the world with the practice of author groups critiquing their own work. The research shows how a critique group can assist a writer to learn, grow and develop, helping to enhance the writer’s skills through constructive feedback, which gives them confidence to sell their work.

Placing the creative sector in innovation : the full gamut

This paper examines the place of the creative sector -- the arts, design, media and communications -- within the framework of contemporary innovation. The historical focus on science-and-technology by innovation policy makers has spurred many within the creative sector to argue how and why it also contributes to innovation. Drawing on a wide range of English-speaking research and policy documents, the full gamut of places for the creative sector in innovation is surveyed. The paper ends by scoping out the conceptual and empirical research that is required if ideas about innovation in the creative sector are to take up a mature position within innovation studies and related policy.

Hunger

Poet's statement: My father died of pancreatic cancer a few years ago, and since then other family members and friends have developed cancer. Some have recovered, perhaps temporarily, while for others the prospect is one of inevitable decline, raising questions about when the point is reached where death is preferable to life. This poem expresses the ambiguity of visceral urges which could be towards either continued life or a relieving death.

Australian landscape lineages

Stephen Krog has pointed out that landscape architecture has an ill-studied Modernist history, and further suggested that landscape architecture is too theoretically bereft to have a considered theoretical Post-Modernism anyway. The projects that make up the Sunburnt exhibition all emerge from practitioners who were educated during the Post-Modern period in Australia, roughly the 10 years between 1985 and 1995 - a period corresponding to the Australian Bicentennial celebrations in 1988. This essay will quickly trace lineages of education, office experience and ideas through the projects and practices during that period. In common with theories of Post-Modernism in architecture propounded at the time, many of the projects exhibit an interest in pluralistic views of places, cultures and issues, including engaging contextual relationships with places, and involving urban form. These designers were interested in form at a time when it was regarded as incidental rather than important.