Goya's Caprichos : beauty, reason & caricature.

Bibliography: v. 1, p. 215-220.

Television satire, decmocracy and the decay of public language: John Clarke's verbal caricature

This paper examines the contributions of John Clarke to the field of political satire through his interviews with straight-man Bryan Dawe on ABC TV’s The 7.30 Report. Clarke’s work represents one of the last vestiges of what was once a vigorous satiric tradition in TV comedy, specifically the practice of political caricature. There was The Mavis Bramston Show in the 1960s and The Naked Vicar Show in the 1970s, while The Gillies Report in the 1980s was probably the best example of sustained political caricature in television comedy. Even in later sketch-based shows such as Fast Forward and The Late Show in the early 1990s, political caricature was a significant component of the material, whereas it seems to have all but disappeared from current television comedy. The paper investigates the disappearance of this type of comedy from Australian television screens and also discusses why the longevity, consistency, not to mention accuracy, of Clarke’s satire is so important in the current political climate. Clarke’s political caricature is almost entirely language-based, expertly parodying the spin-doctored rhetoric of our elected representatives and business leaders. This leads to a secondary focus of the paper, which is a discussion of Clarke’s unique form of satire in the context of what an historian (and former satirist) identifies as ‘the decay of public language’.

Similarity in recognition processes used for bodies and faces: Bodies show caricature effects

Because faces and bodies share some abstract perceptual features, we hypothesised that similar recognition processes might be used for both. We investigated whether similar caricature effects to those found in facial identity and expression recognition could be found in the recognition of individual bodies and socially meaningful body positions. Participants were trained to name four body positions (anger, fear, disgust, sadness) and four individuals (in a neutral position). We then tested their recognition of extremely caricatured, moderately caricatured, anticaricatured, and undistorted images of each stimulus. Consistent with caricature effects found in face recognition, moderately caricatured representations of individuals' bodies were recognised more accurately than undistorted and extremely caricatured representations. No significant difference was found between participants' recognition of extremely caricatured, moderately caricatured, or undistorted body position line-drawings. AU anti-caricatured representations were named significandy less accurately than the veridical stimuli. Similar mental representations may be used for both bodies and faces.

Critical Reflections on Feminist Criminologies

This chapter provides an overview of the substantial and often neglected contribution of feminist theory and research to critical criminology. There are an array of feminist approaches to studying crime, violence and victimisation ( see Naffine 1997:29; Young 1996:34. this field of study has bourgeoned and diversified so much over the last decade that it would be a disservice to caricature it as simply "feminist". A range of influences and approaches from literary theory, jurisprudence, legal studies, cultural studies, postmodernism, neo-liberalism, post-colonialism and neo-Marxism are apparen across this large disparate body of work.

The cultural economy moment?

This paper explores the rise of cultural economy as a key organising concept over the 2000s. While it has intellectual precursors in political economy, sociology and postmodernism, it has been work undertaken in the fields of cultural economic geography, creative industries, the culture of service industries and cultural policy where it has come to the forefront, particularly around whether we are now in a ‘creative economy’. While work undertaken in cultural studies has contributed to these developments, the development of neo-liberalism as a meta-concept in critical theory constitutes a substantive barrier to more sustained engagement between cultural studies and economics, as it rests upon a caricature of economic discourse. The paper draws upon Michel Foucault’s lectures on neo-liberalism to indicate that there are significant problems with the neo-Marxist account hat became hegemonic over the 2000s. The paper concludes by identifying areas such as the value of information, the value of networks, motivations for participation in online social networks, and the impact of business cycles on cultural sectors as areas of potentially fruitful inter-disciplinary engagement around the nature of cultural economy.

Mathematical investigation of the interactions between the inflammatory response and mechanical aspects of dermal wound repair

Dermal wound repair involves complex interactions between cells, cytokines and mechanics to close injuries to the skin. In particular, we investigate the contribution of fibroblasts, myofibroblasts, TGFβ, collagen and local tissue mechanics to wound repair in the human dermis. We develop a morphoelastic model where a realistic representation of tissue mechanics is key, and a fibrocontractive model that involves a reasonable approximation to the true kinetics of the important bioactive species. We use each of these descriptions to elucidate the mechanisms that generate pathologies such as hypertrophic scars, contractures and keloids. We find that for hypertrophic scar and contracture development, factors regulating the myofibroblast phenotype are critical, with heightened myofibroblast activation, reduced myofibroblast apoptosis or prolonged inflammation all predicted as mediators for scar hypertrophy and contractures. Prevention of these pathologies is predicted when myofibroblast apoptosis is induced, myofibroblast activation is blocked or TGFβ is neutralised. To investigate keloid invasion, we develop a caricature representation of the fibrocontractive model and find that TGFβ spread is the driving factor behind keloid growth. Blocking activation of TGFβ is found to cause keloid regression. Thus, we recommend myofibroblasts and TGFβ as targets for clinicians when developing intervention strategies for prevention and cure of fibrotic scars.

The story of … the top hat

Throughout the 19th century, the top hat was a mainstay of Victorian life: a man in a topper was well-to-do, respectable, a man of industry. But now the top hat is only a caricature of the upper class privilege it once represented. Its history traces a line through dandies, beavers, silk, and madness...

Asymptotics of the invariant measure in mean field models with jumps

We consider the asymptotics of the invariant measure for the process of spatial distribution of N coupled Markov chains in the limit of a large number of chains. Each chain reflects the stochastic evolution of one particle. The chains are coupled through the dependence of transition rates on the spatial distribution of particles in the various states. Our model is a caricature for medium access interactions in wireless local area networks. Our model is also applicable in the study of spread of epidemics in a network. The limiting process satisfies a deterministic ordinary differential equation called the McKean-Vlasov equation. When this differential equation has a unique globally asymptotically stable equilibrium, the spatial distribution converges weakly to this equilibrium. Using a control-theoretic approach, we examine the question of a large deviation from this equilibrium.

'Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956

Vaughn, James, ''Cloak Without Dagger': How the Information Research Department Fought Britain's Cold War in the Middle East, 1948-1956', Cold War History (2004) 4(3) pp.56-84 RAE2008

DISSIMILAR CONTEMPORARIES: SELECTED PIANO MUSIC OF SERGEI RACHMANINOFF AND SERGEI PROKOFIEV

Virtual contemporaries, Sergei Rachmaninoff and Sergei Prokofiev were pianists, steeped in the traditions of Russian pianism; recordings of both pianists-composers playing their own works are available. Although the composers can be perceived as having little in common, in fact both composed in classical forms, both had a strong lyrical sense and both had an unbreakable connection with their Russian heritage. Rachmaninoff was the last great representative of Russian late Romanticism as well as one of the finest pianists of his generation. He cultivated a sweepingly passionate and melodious idiom, with pronounced lyrical quality, expressive breath and structural ingenuity. Prokofiev, on the other hand, tried to push the Russian Romantic traditions to a point of exacerbation and caricature before experimenting with various kinds of modernism. Stressing simplicity, he helped invent Neo-Classicism. His melodies are essentially tonal with wide skips and sweeping long lines. Harmonically, he used triadic harmony full of dissonances, strange inversions, unusual spacings, and jarring juxtapositions. Writing in classical forms, he incorporated rhythmic vitality and lyrical elements into his music. I have chosen to perform five works by each composer, written in a variety of genres, including the sonata, the toccata, variations, the concerto. I also have divided the pieces into three recital programs to show the idiosyncratic characteristics of the composers. I have endeavored to select pieces based on the technical and artistic challenges that they offer, thereby allowing me to grow as a pianist and an artist. My goal is to gain a thorough understanding of not only the pieces but also the musical styles of both composers.

THE DEVELOPMENT OF THE AMERICAN SOLO TUBA REPERTOIRE

A very good case can be made that no other instrument has experienced as dramatic an increase in artistic solo repertoire as the tuba in the past sixty years. Prior to 1954, the mainstays of the tuba repertoire were trite caricature pieces such as Solo Pomposo, Rocked in the Cradle of the Deep, Beelzebub, and Bombastoso. A few tubists, seeing the tremendous repertoire by great composers written for their brass brethren, took it upon themselves to raise the standard of original compositions for tuba. These pioneers and champions of the tuba accomplished a great deal in the mid to late twentieth century. They structured a professional organization to solidify their ranks, planned and performed in the first tuba recitals at Carnegie Hall, organized the First International Tuba Symposium-Workshop, indirectly created more prestigious positions for tuba specialists at major universities, and improved the quantity and quality of the solo tuba repertoire. This dissertation focuses on the development of the solo repertoire for tuba that happened in the United States because of the tremendous efforts of William Bell, Harvey Phillips, Roger Bobo, and R. Winston Morris. Because of their tireless work, tuba instrumentalists today enjoy a multitude of great solo works including traditional sonatas, concertos, and chamber music as well as cutting edge repertoire written in many genres and accompanied by a variety of mediums. This dissertation attempts to trace the development of the repertoire presenting the works of American composers in varying genres and musical styles from 1962 to present through three performed recitals.

Witz komm 'raus, du bist umzingelt! Über das Misslingen zweier Karikaturen

Im Artikel werden zwei Karikaturen von Teresa Habild interpretiert. Thematisiert wird in beiden Darstellungen, wie in der Schule mit der unterschiedlichen Schichtzugehörigkeit von Kindern und Eltern umgegangen wird. Dabei zeigt die Interpretation, dass der vermeintliche Witz letztendlich auf Kosten der Dargestellten geht und sich mit den bestehenden Verhältnissen arrangiert. Es wird von der Künstlerin versäumt, genau diese bestehende Ungerechtigkeit des Systems Schule und dessen Ausleseprozess kritisch zu befragen. (DIPF/Autor)

Même un protestant peut prendre du plaisir à table

Le protestant a la réputation de ne pas savoir profiter de la vie. Ainsi, autour d'une table "interconfessionnelle", il aurait tendance à être le rabat-joie, celui qui, sérieux comme un pape(!), pontifie dans son coin, alors que les autres se réjouissent, boivent et mangent! Évidemment, la caricature ne résiste pas à l'analyse, comme le démontre cette auto-interview.