Speeches and paradoxes of cultural mediation: A practice between the elite and the cultural poverty

This text analyzes the speeches of a group of cultural mediators working in Madrid in public and private institutions of arts. The group was organized as part of the activities of the European Project Divercity: Diving into Diversity in Museums and the City of the Complutense University in March 2015. The aim of the interview was to unravel what they mean by diversity in the profession, and analyze the contradictions and objectives professions that arise in this new field of work.

Standardization in the Pre-Columbian Pottery from El Caño, Panama: Specialization, Productivity and Consumption

The pottery found in the burials of El Cano is uniform in style to these made in the coclesanos valleys between 700 and 1000 AD. The coefficient of variability of the different pottery forms, evidence diverse standardizations values for polychrome and non-polychrome ceramics. Moreover, data of funerary contexts from the Cano recently excavated, suggest that elite has controlled ceramic production. This control over the production of certain goods reveals that these were important in the support or proper operational of the chiefdoms in Panama and mark the phase of splendour of this culture.

The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Photography, copyright, and the South Kensington experiment

Reviews the development of UK copyright law in the 19th century concerning photographs of works of art in public collections. Discusses the project at South Kensington Museum to sell photographs of works of art to the public at cost price, and the introduction of copyright protection for original photographs under the Fine Arts Copyright Act 1862. Considers the parliamentary debates on whether photography was worthy of copyright protection. Examines whether lessons should be learned now that digital technology offers the opportunity to improve public access to works of art.

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.

Movies and the Enchanted Mind : Emotional Comprehension and Spiritual Meaning Making Among Young Adults in Contemporary Sweden

The outcome of an empirical audience study in Sweden including questionnaires, focus groups and ten in-depth individual interviews discussing favorite films supports claims about viewers as active and playful (cf. Frampton 2006, Hoover 2006, Plantinga 2009). The soft side of mediatization processes is illustrated showing young adults experiencing enchantment through films (Jerslev 2006, Partridge 2008, Klinger 2008, Oliver & Hartmann 2010). The outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behavior are affected by film watching (Marsh 2007, Suckfüll 2010, Oliver & Hartmann 2010, Axelson 2014). The results of the interviews exploring specific scenes of idiosyncratic relevance support theories about fiction films as important sources for moral and spiritual reflection (Partridge 2004, Zillman 2005, Lynch 2007, Plantinga 2009).  The concept thick viewing is proposed for capturing these moments of film experience when profound and enchanted emotional interpretations take place.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

Shakespeare and the Birmingham Repertory Theatre 1913-1929

It is well known that the Birmingham Repertory Theatre launched the careers of some of the greatest twentieth-century Shakespearian actors including Laurence Olivier and Ralph Richardson. What is not so well known is that the Rep legend was based on a radical commitment to the innovative staging of Shakespeare which dates back to the earliest years of the century. By the 1920s this had initiated a profound shift in Shakespeare performance values which continues to inform modern production. In telling the story of Rep Shakespeare and the directors, designers and actors who contributed to the company's world-wide reputation, this book sets the work of the first purpose-built British repertory theatre in the context of the major aesthetic and organisational changes which were to transform twentieth-century theatre as a whole.

Parental mediation, YouTube’s networked public, and the baby-iPad encounter: mobilizing digital dexterity.

This study collected a sample of YouTube videos in which parents recorded their young children utilizing mobile touchscreen devices. Focusing on the more frequently viewed and highly-discussed videos, the paper analyzes the ways in which babies’ ‘digital dexterity’ is coded and understood in terms of contested notions of ‘naturalness’, and how the display of these capabilities is produced for a networked public. This reading of the ‘baby-iPad encounter’ helps expand existing scholarly concepts such as parental mediation and technology domestication. Recruiting several theoretical frameworks, the paper seeks to go beyond concerns of mobile devices and immobile children by analyzing children’s digital dexterity not just as a kind of mobility, but also as a set of reciprocal mobilizations that work across domestic, virtual and publically networked spaces.

Postdigital play and the aesthetics of recruitment

This paper analyses reconfigurations of play in newly emergent material and digital configurations of game design. It extends recent work examining dimensions of hybridity in playful products by turning attention to interfaces, practices and spaces, rather than devices. We argue that the concept of hybrid play relies on predefining clear and distinct entities that then enter into hybrid situations. Drawing on concepts of the ‘interface’ and ‘postdigital’, we argue the distribution of computing devices creates difficulties for such presuppositions. Instead, we propose an ‘aesthetic of recruitment’ that is adequate to the new openness of social and technical play.

Development Begins at Home: Women and the Domestic Economy in Brazil, 1945-1975

A number of historians of twentieth-century Latin America have identified ways that national labor laws, civil codes, social welfare programs, and business practices contributed to a gendered division of society that subordinated women to men in national economic development, household management, and familial relations. Few scholars, however, have critically explored women's roles as consumers and housewives in these intertwined realms. This work examines the Brazilian case after the Second World War, arguing that economic policies and business practices associated with “developmentalism” [Portuguese: desenvolvimentismo] created openings for women to engage in debates about national progress and transnational standards of modernity. While acknowledging that an asymmetry of gender relations persisted, the study demonstrates that urban women expanded their agency in this period, especially over areas of economic and family life deemed "domestic." This dissertation examines periodicals, consumer research statistics, public opinion surveys, personal interviews, corporate archives, the archives of key women’s organizations, and government officials’ records to identify the role that women and household economies played in Brazilian developmentalism between 1945 and 1975. Its principal argument is that business and political elites attempted to define gender roles for adult urban women as housewives and mothers, linking their management of the household to familial well-being and national modernization. In turn, Brazilian women deployed these idealized roles in public to advance their own economic interests, especially in the management of household finances and consumption, as well as to expand legal rights for married women, and increase women’s participation in the workforce. As the market for women's labor expanded with continued industrialization, these efforts defined a more active role for women in the economy and in debates about the trajectory of national development policies.

Close encounters: international exhibitions and the material culture of the British Empire, c.1880-1940

Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.

Contradictory male/masculine/men's "I"s: the unwriting of men, and the concept of sex

May I start with two observations? First, men’s relations to feminism are problematic—there is always a gap, a gap between men and feminism; second, the gendering of men and masculinities is now recognised. There are several challenges here. The gender challenge concerns how to move from the presumed “genderlessness” of men towards the gender-consciousness of being a man/men. Another challenge concerns the “public/private,” the disruption of dominant narratives of “I” of men and the masculine “I.” There is also a temporal challenge, of moving away from simple linearity of the “I.” Together, these challenges can be seen as moving away from taken-for-granted “gender power-coherence” towards gender power-consciousness. To address these kinds of question means interrogating the uneven non-equivalences of what it means to be male, a man, masculine. This is not easily reduced to sex or gender. Rather gender/sex, or simply gex, helps to speak of such blurrings.