The Gentle Island (Staged Reading): by Brian Friel

Staged Reading on Arranmore Island, West Donegal for the Lughnasa International Friel Festival

Learning to be Boys: Reading the Lessons of Shakespeare’s Love’s Labour’s Lost and Marston’s What You Will

This essay focuses on the lessons of Love’s Labour’s Lost’s pageboy-schoolboy-boy actor, Moth, to examine the production of boyhood in early modern culture. It reads Shakespeare’s boy character alongside John Marston’s schoolboy, Holofernes Pippo, in What You Will to investigate the ways in which school lessons might be deployed to produce aged and gendered identities that complicate traditional understandings of early modern masculinity. Reading the comic staging of lessons in these plays, it will suggest that while the educational system aimed to produce gendered subjects, early modern masculine identities exist as a range of categories on a developmental scale. It will propose that although Moth and Pippo comically expose the limits of many pedagogical methods to produce ‘men’, they demonstrate the ways in which these characters learn to be boys. Finally, it will consider the extent to which this production of early modern age and gender identity in the plays is paralleled by the historical boy actors performing these roles.

Finite-element investigation of cold-formed steel portal frames in fire

This paper presents the results of a full-scale site fire test performed on a cold-formed steel portal frame building with semi-rigid joints. The purpose of the study is to establish a performance-based approach for the design of such structures in fire boundary conditions. In the full-scale site fire test, the building collapsed asymmetrically at a temperature of 714°C. A non-linear elasto-plastic finite-element shell model is described and is validated against the results of the full-scale test. A parametric study is presented that highlights the importance of in-plane restraint from the side rails in preventing an outwards sway failure for both a single portal and full building geometry model. The study also demonstrates that the semi-rigidity of the joints should be taken into account in the design. The single portal and full building geometry models display a close match to site test results with failure at 682°C and 704°C, respectively. A design case is described in accordance with Steel Construction Institute design recommendations. The validated single portal model is tested with pinned bases, columns protected, realistic loading and rafters subject to symmetric uniform heating in accordance with the ISO 834 standard fire curve; failure occurs at 703°C.

Comparison of optimal designs of steel portal frames including topological asymmetry considering rolled, fabricated and tapered sections

A structural design optimisation has been carried out to allow for asymmetry and fully tapered portal frames. The additional weight of an asymmetric structural shape was found to be on average 5–13% with additional photovoltaic (PV) loading having a negligible effect on the optimum design. It was also shown that fabricated and tapered frames achieved an average percentage weight reduction of 9% and 11%, respectively, as compared to comparable hot-rolled steel frames. When the deflection limits recommended by the Steel Construction Institute were used, frames were shown to be deflection controlled with industrial limits yielding up to 40% saving.

Truth at 24 frames a second? A working dialogue between a film-maker and a historical consultant about the making of The Enigma of Frank Ryan

We employ a practice-based methodology based on a ‘live’ film project to explore the different ways that film-makers and historians narrate the past. Through a case-study of the production and exhibition of a drama-documentary feature-film, The Enigma of Frank Ryan, on which both authors (film-maker Bell and historian McGarry) worked respectively as director and historical consultant, we explore a range of critical issues arising from our collaboration. Through a dialogue between a director and a historian, a model of good practice between historians and film-makers emerges.

Re-Reading the Riots: Counter-Conduct in London 2011

The riots that took place in England in August 2011 have widely been described as destructive, senseless and without purpose. This article, taking inspiration from Michel Foucault’s later work on revolt as counter-conduct, argues for a new understanding of how to read political expression and thereby calls for the riots to be thought differently, as a form of counter-conduct. This demands a new appreciation for the possibilities of revolt where spontaneous, impulsive, mundane and non-spectacular events like riots can be construed as political rather than purely criminal. It also opens up possibilities for how we might understand the ethos of the ‘revolting subject’.

Laughter and Humour as Conversational Mind-Reading Displays

Laughter and humor are pervasive phenomena in conversa- tional interactions. This paper argues that they function as displays of mind-reading abilities in social interactions–as suggested by the Analogi- cal Peacock Hypothesis (APH). In this view, they are both social bonding signals and can elevate one’s social status. The relational combination of concepts in humor is addressed. However, it is in the inclusion of context and receiver knowledge, required by the APH view, that it contributes the most to existing theories. Taboo and offensive humor are addressed in terms of costly signaling, and implications for human computer inter- action and some possible routes to solutions are suggested.

Narrative Personae and Visual Signs: Reading Leonard’s intimate photo-memoir. a/b: Auto/Biography Studies.

: In this paper, I look at Joanne Leonard’s Being in Pictures and engage in a critical dialogue with an assemblage of visual and textual narratives that comprise her intimate photo memoir. In doing this I draw on Hannah Arendt’s take on narratives as tangible traces of uniqueness and plurality, political traits par excellence in the cultural histories of the human condition. Being aware of my role as a reader/viewer/interpreter of a woman artist’s auto/biographical narratives, I move beyond dilemmas of representation or questions of unveiling “the real Leonard”. The artist is instead configured as a narrative persona, whose narratives respond to three interrelated themes of inquiry, namely the visualization of spatial technologies, vulnerability and the gendering of memory. Key words: gendered memories, narrative persona, spatial technologies, photo memoir, vulnerability

Transportations of space, time and self: The role of therapeutic reading groups in managing mental distress in the community.

Background The practice of reading and discussing literature in groups is long established, stretching back into classical antiquity (Fischer, 2004). While benefits of therapeutic reading groups have been highlighted, research into participants’ perceptions of these groups has been limited (Walwyn & Rowley, 2011). Aims To explore the experiences of those attending therapeutic reading groups, considering the role of both the group, and the literature itself, in participants’ ongoing experiences of distress. Method Eleven participants were recruited from two reading groups in the South East of England. One focus group was run, and eight individuals self selected for individual interviews. The data were analysed together using a thematic analysis drawing on dialogical theories. Results Participants described the group as an anchor, which enabled them to use fiction to facilitate the discussion of difficult emotional topics, without referring directly to personal experience. Two aspects of this process are explored in detail: the use of narratives as transportation, helping to mitigate the intensity of distress; and using fiction to explore possibilities, alternative selves and lives. Conclusions For those who are interested and able, reading groups offer a relatively de-stigmatised route to exploring and mediating experiences of distress. Implications in the present UK funding environment are discussed.

Between the Bullet and the Hole

Between the Bullet and the Hole is a film centred on the elusive and complex effects of war on women's role in ballistic research and early computing. The film features new and archival high-speed bullet photography, schlieren and electric spark imagery, bullet sound wave imagery, forensic ballistic photography, slide rulers, punch cards, computer diagrams, and a soundtrack by Scanner. Like a frantic animation storyboard, it explores the flickering space between the frames, testing the perceptual mechanics of visual interpolation, the possibility of reading or deciphering the gap between before and after. Interpolation - the main task of the women studying ballistics in WW2 - is the construction or guessing of missing data using only two known data points. The film tries to unpack this gap, open it up to interrogation. It questions how we read, interpolate or construct the gaps between bullet and hole, perpetrator and victim, presence and absence. The project involves exchanges with specialists in this area such as the Cranfield University Forensics department, London-based Forensic Firearms consultancy, the Imperial War Museum, the ENIAC programmers project, the Smithsonian Institute, and Forensic Scientists at Palm Beach County Sheriff's Office (USA). Exhibitions: Solo exhibition at Dallas Contemporary (Texas, Jan-Mar 2016), including newly commissioned lenticular prints and a dual slide projector installation; Group exhibition the Sydney Biennale (Sydney, Mar-June 2016); UK premiere and solo retrospective screening at Whitechapel Gallery (London); forthcoming solo exhibition at Iliya Fridman Gallery (NY, Oct-Dec 2016); Film festivals and screenings: International Film Festival Rotterdam (Jan 2016); Whitechapel Gallery (London Feb 2016); Cornerhouse/Home (Manchester Nov 2016); Public lectures: Whitechapel Gallery with prof. David Alan Grier and Morgan Quaintance; Carriageworks (Sydney) Prof. Douglas Khan; Monash University (Melbourne); Gertrude Space (Melbourne). Reviews and interviews: Artforum, Studio International, Mousse Magazine.