WE

Inspired by the dystopian fiction of Yevgeny Zamyatin and the minimal synthesiser music of the early 80s, London-based artist duo Pil and Galia Kollectiv are joined by Victor M. Jakeman and Ruth Angel Edwards to present popular chart hits in new versions, turning songs about 'me' and 'you' into songs about 'us', and replacing the individual 'I' with the collective 'WE'. The performance WE reveals the latent politics of the love song by annihilating its liberal subject; through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal. Sonically, WE follows in the footsteps of bands like The Better Beatles, who sought to improve on the canon of popular music by stripping it bare, even. WE, performed at Kunsthall Oslo, Royal Standard Liverpool and ICA London, is also released on a 10" vinyl record and accompanied by a music video commissioned by Tate Britain for Tate Shots.

Beyond tokenism? Community-led planning and rational choices: findings from participants in local agenda-setting at the neighbourhood scale in England

The article confronts some key issues raised in the literature on public participation via a series of interrogatory questions drawn from rational choice theory. These are considered in relation to the design and process of public participation opportunities in planning and wider processes of local governance at the neighbourhood scale. In doing this, the article draws on recent research that has looked in some depth at a form of community-led planning (CLP) in England. The motives and expectations of participants, the abilities of participants, as well as the conditions in which participation takes place are seen as important factors. It is contended that the issues raised by rational choice theory are pertinent to emerging efforts to engage communities. As such, the article concludes that advocates of public participation or community engagement should not be afraid of responding to the challenges posed by questions of motive and reward of participants if lasting and worthwhile participation is to be established. Indeed, questions such as 'what's in it for me?' should be regarded as legitimate, necessary and indeed standard, in order to co-devise meaningful and durable participation opportunities and appropriate institutional environments. However, it is also maintained that wider considerations and capacity questions will also need to be confronted if participation is to become embedded as part of participatory neighbourhood-scale planning.

Local agenda 21 and planning practice: structural transformation or window dressing?

Local Agenda 21 seeks the meaningful involvement of a wide range of local groups and stakeholders in the formulation and implementation of public policy and a free flow of communication and discussion between them and their respective local authorities (and other areas and levels of decision-making). This paper explores the reality of this process using case study evidence from local planning practice in Liverpool (in the north of England) and Reading (in the south of the country). It concentrates on the interaction between LA21 groups and local planning authorities around the preparation of local land use plans and other policy initiatives and the day-to-day regulation of development permits. The paper builds on ‘New Institutionalist’ theory to explore the constraints and opportunities for significant transformations in social, political and economic ‘structures’ or ‘ways of doing things’ through the LA21 process. It concludes that the two cases provide evidence of mixed success in achieving such changes in established planning practices.

The impact of livestock assets among indigenous communities: findings from a comparative model in Bolivia

Measuring poverty has occupied a lot of space in the development discourse. Over the years a number of approaches have been offered to capture the experience of what it means to be poor. However, latterly such approaches often ignore core assets. Indeed, the comparative impact of livestock vs. other core assets such as land and education on poverty has not been well explored. Therefore, the authors created an 'asset impact model' to examine changes to both tangible and intangible assets at the household level, with a particular focus on gender and ethnicity among communities residing in the Bolivian Altiplano. The simple model illustrates that for indigenous women, a 20 per cent increase in the livestock herd has the same impact on household income as increasing the education levels by 20 per cent and household land ownership by 5 per cent. The study illustrates the potential role of a productive, tangible asset, i.e. livestock, on poverty reduction in the short term. The policy implications of supporting asset-focused measures of poverty are discussed.

Asparagus: a horticultural ballet

Asparagus: A Horticultural Ballet was a live performance and film narrating the rise of capital in the medium of asparagus. The project stemmed from an obscure reference to an art piece of the same name by Waw Pierogi of the band xex. However, the its re-enactment had little to do with the original exploration of the growth and branching patterns of the asparagus plant. Instead, a rigid choreography inspired by Oskar Schlemmer's Triadic Ballet and based on Karl Marx's Capital dictated the movements of six performers in asparagus costumes. Bringing together the organic and the geometric, the ballet investigated the transition from the Fordist assembly line to immaterial labour through a reanimation of modernist abstraction. Being itself the story of abstraction, Capital shows how human relationships are replaced by those between commodities in the joyless grind of endless accumulation. This process results in the transcendent mythical figure of capital, which frames, transfigures and even produces the natural world. Asparagus: A Horticultural Ballet was produced in collaboration with Montreal based band Les Georges Leningrad and commissioned by The Showroom Gallery, London. It was presented live at Conway Hall in London on 6.3.07 and at the Montreal Biennale at SAT on 12.5.07. The performance was accompanied by a film at the Showroom gallery and preceded by a production residency at the Pump House Gallery. The film has subsequently been shown at The Golden Thread Gallery, Bluecoat Liverpool and as part of A-Lot-Ment in Portsmouth. Props from Asparagus: A Horticultural Ballet, were included in The Eagle Document at the Stephen Lawrence Gallery, London.