Fluxing the logic of definitive differences

Focusing on Fluxus, a loosely knit association of artists from America, Europe and Asia whose work centers around intermediality, this article explores the notion of relationality without relata. Intermediality refers to works that fall conceptually between media – such as visual poetry or action music – as well as between the general area of art media and those of life media(Higgins). Departing from two Fluxus intermedia – the event score, a performative score in the form of words, and the Fluxkit, a performative score in the form of objects – I investigate the logic of co-constitutivity within which every element is both subject and object, both constitutive and constituted. To be more precise, I trace the cross-categorial interplay of differences that explodes the logico-linguistic structure of binary oppositions, such as those between foreground and background, word and action, sound and silence, identity and alterity. Aided by Jacques Derrida’s concept of ‘de-centered play’ and Shigenori Nagatomo’s concept of ‘interfusion’ this article seeks to articulate the ways in which the Fluxus works mobilise the ‘silent background’ to dismantle the dualistic logic of definite differences.

Choice of designs and doses for early phase trials

This paper reviews state-of-art statistical designs for dose-escalation procedures in first-into-man studies. The main focus will be on studies in oncology, as most statistical procedures for phase I trials have been proposed in this context. Extensions to situations such as the observation of bivariate outcomes and healthy volunteer studies are also discussed. The number of dose levels and cohort sizes used in early phase trials are considered. Finally, this paper raises some practical issues for dose-escalation procedures.

Introducing assistive technologies (AT) into the existing homes of older people

The design of accessible environments, for use by all, is a legal requirement for all public buildings, under the Disability Discrimination Act 1995 (DDA, 1995) since October 1999 and the removal of all physical barriers becomes enforceable in 2004. Accessibility has transferred from being a social and moral issue to a legal requirement. The Research Group for Inclusive Environments at the University of Reading undertakes research to better understand methods to make the built environment more accessible. This paper presents the findings from the research project, Project Crystal, investigating the design of environments for better communication for deaf and hard of hearing people. At the last COBRA conference the preliminary findings from the pilot questionnaire were presented. During the year the questionnaire has been distributed more widely and a test environment has been used to investigate the effects the variables of lighting and colour have on people's ability to communicate. This paper will present some of the findings from the project, which is almost complete, and generalise on the effect wall surface design has on accessibility of an environment for people with a hearing impairment.

The strength of the system and my experiences of it, was that in fact, oddly enough, it was actually a very collaborative enterprise already

Video:35 mins, 2006. The video shows a group of performers in a studio and seminar situation. Individually addressing the camera they offer personal views and experiences of their own art production in relation to the institution, while reflecting on their role as teachers. The performance scripts mainly originate from a series of real interviews with a diverse group of artist teachers, who emphasise the collaborative, performative and subversive nature of teaching. These views may seems symptomatic for contemporary art practices, but are ultimately antagonistic to the ongoing commodification of the system of art education.

In the intersection of the angles of a table, there is more truth than in all the tangle of muscles: Futurism as anti-humanist critique

The recent celebrations of the centenary of the publication of the Futurist manifesto led to a renewed discussion of the ideas and artworks of the Italian artists’ group. Jacques Rancière related the Futurist ethos with the modernist project of liberating art from representation. Franco ‘Bifo’ Berardi, in his post-Futurist manifesto, also identified a historical irony at play in the emptying out of Futurism’s promise: a liberated mechanical humanity did indeed materialize, in a global economic system premised on financial servitude to the future via debt. However, these models continue to assess Futurism against an unchallenged humanism, finding it either supporting ideals of freedom and human rights despite itself, or else lacking in these areas. But Futurism is potentially more relevant than ever not in spite of its anti-humanist agenda, precisely because of it. Tom McCarthy annexes not Futurist art but Futurist writing to an emerging object oriented ontology that seeks to challenge the primacy of the human. If Futurism is to be repurposed as a critical concept, it can only do so by countering the humanist myth the liberal subject that underlies the current cultural and political hegemony of neo-liberalism.