Terentius Poeta

Edited volume, reassessing Terence as a playwright of its own right, containing cutting-edge contributions on textual criticism, edition, language, metre, and aesthetics of Terence.

Ballet

The video Ballet engages with recent histories of rural filmmaking, linking everyday farming movements with the aesthetics of dance. Starting point for this new work is a series of archival films from the collection of the Museum of English Rural Life (MERL), which provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. These films present a unique vision of rural labour and collective staged action, where extras, rural background actors, are performing 'normality' prior to potential disruption of an imminent crisis. Szuper Gallery's video deconstructs the movements of extras in these rural propaganda films. It features a large cast of dancers and non-dancers in a spectacular rural setting performing a new choreography to a dramatic sound score.

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.

Flatpack revolution

The project consists of a trilogy of films and a live performance. The Future trilogy takes IKEA riot of 2005 as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. Shot on 16mm and 8mm film, the series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The live performance No Haus Like Bau, staged at the HAU 1 theatre in Berlin for the 5th Berlin Biennale, continues this research into re-enactment and post-1989 politics by dramatizing the rise and fall of the soviet union as a neo-Constructivist mime using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, from Constructivist and Futurist constumes to biomechanics and Bauhaus theatre theory, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. These explorations of consumerism and revolution have been widely exhibited internationally and supported by Film London, Arts Council England, Collective Gallery and the Berlin Biennale. The Future Trilogy formed the basis of a solo exhibition at the Te Tuhi Art Centre in Auckland, New Zealand and was screened as part of the Signal and Noise media art festival in Vancouver, as well as other exhibitions and screenings including “Roll it to Me” at Collective Gallery, Edinburgh, and Apocatopia, Castlefield Gallery, Manchester.

Inverse problems in neural field theory

We study inverse problems in neural field theory, i.e., the construction of synaptic weight kernels yielding a prescribed neural field dynamics. We address the issues of existence, uniqueness, and stability of solutions to the inverse problem for the Amari neural field equation as a special case, and prove that these problems are generally ill-posed. In order to construct solutions to the inverse problem, we first recast the Amari equation into a linear perceptron equation in an infinite-dimensional Banach or Hilbert space. In a second step, we construct sets of biorthogonal function systems allowing the approximation of synaptic weight kernels by a generalized Hebbian learning rule. Numerically, this construction is implemented by the Moore–Penrose pseudoinverse method. We demonstrate the instability of these solutions and use the Tikhonov regularization method for stabilization and to prevent numerical overfitting. We illustrate the stable construction of kernels by means of three instructive examples.

No Haus Like Bau

The project consists of a live performance taking the 2005 IKEA riot as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. It is accompanied by a film series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The performance, staged at the Berlin Biennale, continues this research into re-enactment and post-1989 politics, using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. By re-evaluating biomechanics and Bauhaus theatre theory, these explorations of consumerism and revolution propose that the mechanized movement developed in conjunction with industrial labour survives as a historical re-enactment in the wake of manufacturing work in the west. In the absence of a visual language apt to the contemporary, No Haus Like Bau uses re-enactment as a retrogarde tactic. Its purpose on the one hand is to invoke trajectories for alternate futures that never materialized at an originary moment. On the other hand, the clash of past forms with present content serves to accentuate the historical changes that have thrown into question these forms. Rather than reflecting the present, the projection of the past into a fictional future aims to destabilize the dominant narrative that suggests the current configuration of art, politics and human nature has always been this way. The project has been widely exhibited internationally and supported by Film London and Arts Council England. A theoretical essay on re-enactment as a strategy for performance has been published in Art Papers and in Memory [MIT]. The project also formed the basis of a solo exhibition at Te Tuhi Art Centre, Auckland.

Being and goodness

The old scholastic principle of the "convertibility" of being and goodness strikes nearly all moderns as either barely comprehensible or plain false. "Convertible" is a term of art meaning "interchangeable" in respect of predication, where the predicates can be exchanged salva veritate albeit not salva sensu: their referents are, as the maxim goes, really the same albeit conceptually different. The principle seems, at first blush, absurd. Did the scholastics literally mean that every being is good? Is that supposed to include a cancer, a malaria parasite, an earthquake that kills millions? If every being is good, then no being is bad—but how can that be? To the contemporary philosophical mind, such bafflement is understandable. It derives from the systematic dismantling of the great scholastic edifice that took place over half a millennium. With the loss of the basic concepts out of which that edifice was built, the space created by those concepts faded out of existence as well. The convertibility principle, like virtually all the other scholastic principles (not all, since some do survive and thrive in analytic philosophy), could not persist in a post-scholastic space wholly alien to it.

Mapping power law distributions in digital health social networks: methods, interpretations, and practical implications

BACKGROUND: Social networks are common in digital health. A new stream of research is beginning to investigate the mechanisms of digital health social networks (DHSNs), how they are structured, how they function, and how their growth can be nurtured and managed. DHSNs increase in value when additional content is added, and the structure of networks may resemble the characteristics of power laws. Power laws are contrary to traditional Gaussian averages in that they demonstrate correlated phenomena. OBJECTIVES: The objective of this study is to investigate whether the distribution frequency in four DHSNs can be characterized as following a power law. A second objective is to describe the method used to determine the comparison. METHODS: Data from four DHSNs—Alcohol Help Center (AHC), Depression Center (DC), Panic Center (PC), and Stop Smoking Center (SSC)—were compared to power law distributions. To assist future researchers and managers, the 5-step methodology used to analyze and compare datasets is described. RESULTS: All four DHSNs were found to have right-skewed distributions, indicating the data were not normally distributed. When power trend lines were added to each frequency distribution, R(2) values indicated that, to a very high degree, the variance in post frequencies can be explained by actor rank (AHC .962, DC .975, PC .969, SSC .95). Spearman correlations provided further indication of the strength and statistical significance of the relationship (AHC .987. DC .967, PC .983, SSC .993, P<.001). CONCLUSIONS: This is the first study to investigate power distributions across multiple DHSNs, each addressing a unique condition. Results indicate that despite vast differences in theme, content, and length of existence, DHSNs follow properties of power laws. The structure of DHSNs is important as it gives insight to researchers and managers into the nature and mechanisms of network functionality. The 5-step process undertaken to compare actor contribution patterns can be replicated in networks that are managed by other organizations, and we conjecture that patterns observed in this study could be found in other DHSNs. Future research should analyze network growth over time and examine the characteristics and survival rates of superusers.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

Muriel Rukeyser: poetry and the body

The human body occupies a central place in Rukeyser’s poetry. Her characters’ physical experiences inspire their search for an artistic form and a holistic vision that reconciles the corporeal and conceptual aspects of their life. My thesis deals with Rukeyser’s reconciliation of disparate aspects of existence through the image of the human body and the practical experiences she underwent in her personal life and incorporated in her poetry. I discuss her poetry of the 1940s, where a tension is observed between the artist’s personal life and her art, which she attempts to resolve by adopting an artistic form that accommodates her quotidian experiences. I study, mainly through her poetry of the 1950s, Rukeyser’s poetic technique in the light of her organicist poetics and the combination of tendencies to coercion and suggestiveness distinguishing her style. I examine her portrayal of the suffering body in her poetry of the 1960s and 1970s. By means of their physical experiences, the ill, her despised and the imprisoned protagonists undergo a process of development whereby they perceive the different aspects of their identity and attempt to broaden perspectives on their situation by reconciling them. I argue that Rukeyser’s engagement with physical encounters and with the poem as an inclusive, organic body enables her to reconcile disparate elements in her poetry, such as her personal life and her art, her individual existence and the public world, as well as the distinct aspects of her characters’ identity. Her vatic outlook, which integrates distinct aspects of experience, is consistent with Merleau-Ponty’s idea of human perception as characterised by the two interdependent positions of immanence and transcendence. Rukeyser’s poetry depicts her physical engagement with quotidian events of her life as a factor of artistic inspiration. These situations constitute shared human experiences that enable her to imagine the links binding her to other people and the world at large. The poet’s personal experiences inspire her search for an artistic form that accommodates them. Her perception of the concrete aspect of her individual existence gains significance when it is linked to social and political issues. Both the private and public are thus seen as interconnected, and they affect the existence of each other while retaining their distinctness.

Beyond the gap: great liberation through architectural design teaching in the bardo?

Tibetan Buddhists articulate the bardo as the gap that exists between one fundamental stage of existence and another. Its most common usage is to describe the interval between death and reincarnation, but more literally, bar means 'in-between' and do 'island' or 'mark'. The 'bardo experience' is thus any one in which the 'past situation has just occurred and the future situation has not yet manifested itself. Instruction in architectural design attempts to provide guidance in the process of guiding students across the bardo from intention, analysis, and theorisation, to the creation of architectural representations and products. As such the architectural academy operates within a history of methods and codifications which try to quantify and bring a level of certainty to this process.
Recently however, there has been a questioning of traditionally accepted ways of ‘knowing’ the world, which has manifested in challenges to received ‘truths’ and increasing interest in other, previously marginalised histories and knowledges. The critiques that flow from this questioning contend that objective cultural ‘truths’ are simply the discursive result of the dominance of particular ways of perceiving the world. The practice of architecture has not been immune from this. The field has become a subject, for instance, of sociological, feminist and postcolonial critiques. However, their bearing on the pedagogy of composing architecture remains fragmentary and contested. My interest in this subject is derived from a desire to use the opportunities presented by contemporary cultural shifts to develop design-based architectural research that will assist future architects to operate in the uncertainties of an irreducibly plural global community. This paper will explore some ways in which academic research might bear upon the design studio’s negotiation of architectural bardos.

The Purely Reflected Self

Belief in the concept of the self causes suffering. Unfortunately, although conceptual constructions like this may help to define our goal—the casting off of the belief in the self—this is a much more difficult thing to actualize and attain in daily practice. Our building blocks can form a neat tower, and we can climb to the top and gaze at the horizon, but they will topple, leaving us once again over our heads in the hedgerow. Buddha describes his teachings as a raft to ford the river of suffering in order to reach the far off bank of enlightenment: as one does not take the raft after crossing the river, so we must not lean on his teachings to make our way through life. So I intend here to abandon the raft for other accounts of existence written by other thinkers, and in this my purpose is twofold: First, in reading other interpretations we can gain new tools with which to study the architecture of the concept of the self, and second, in studying the history of the concept of self as it progresses through history we can better understand the non-inherentness of this problematic construct. I intend to examine the philosophies of self in the Chinese and European traditions, and their subsequent deconstructive traditions in order to achieve this goal.

Towards a cyberspatial pedagogy : exploring synchronous online learning potentials

It has been a quarter of a century since William Gibson (1984) coined the term cyberspace in his seminal science fiction novel Neuromancer. Subsequently, a proliferation of online teaching technologies have emerged supporting Virilio’s (1991) contention that, “time and space have ceased to function as meaningful dimensions to human thought and action.” The aim of this presentation is to discuss and demonstrate the innovative modification of an online, synchronous learning environment, Elluminate Live! (eLive), which allows participants to transcend the spatial dimension. Specifically, we present an example of good practice which aimed to enhance student engagement by implementing a structured online tutorial series which replicated the entire first year psychology on-campus tutorial series in the eLive environment. We discuss Student Evaluation of Teaching and Units (SETU) results which support the utility of this pedagogic strategy. Finally, we outline various challenges for the virtual teacher who wishes to implement a structured learning program in the eLive environment.
Gibson, W 1984, Neuromancer, Ace Books, New York, USA.
Virilio, P 1991, The aesthetics of disappearance, Semiotext(e), New York, USA.

Arts management/marketing journal citation analysis : assessing external impact

Purpose – This paper aims to present a quantitative analysis of arts management/marketing articles in leading general management/marketing journals, including an examination of the extent to which those top tier journal articles on arts/culture-related topics cite authors of leading arts management journal articles.

Design/methodology/approach – Using bibliometric techniques, this study examines the content of 20 top tier management and marketing journals over 22 years to identify articles published on arts management/marketing, which authors were cited, and from which arts management/marketing journals.

Findings – Analysis indicates that: relatively few citations in the top management/marketing journals reference arts management/marketing journals; assessment of interaction between the parent management/marketing disciplines and the arts management/marketing sub-discipline indicates that authors draw upon a large reserve of diverse literatures; and top journal arts-related management/marketing articles tend to utilize citations to journal articles grounded in the social sciences and aesthetics of management, with an increasing trend of citations to arts management/marketing journals.

Research limitations/implications – This study of the extent to which top journals have published arts/culture-related articles and the citation impact of arts management/marketing journals is the initial academic study on the topic and suggests opportunities for further research.

Practical implications – Analysis of arts management/marketing journal impact contributes to professionalization of the field and increased perceived value of those journals by industry practitioners.

Originality/value – This research is the first to examine the spectrum of arts management/marketing literature, including both top general management/marketing journals and sector-oriented arts management/marketing journals, establishing a body of knowledge for augmentation by future research over time.

Sharing the moment : on the Olympic Games as spectacle

Article examining the 'sale' of Olympics drawing on Kant's aesthetics of beauty in the Critique of Judgment.