Modern lovers

Modern Lovers was a survey show of contemporary art practices in dialogue with modernism, bringing together established and emerging artists based in London and international artists from Berlin, Jerusalem and Zagreb. The show features video, film, installation, sculpture, music and performance work that addresses the legacy of the avant garde and the survival of its aesthetics within contemporary culture. In 1976, as punk rock was busy smashing the cultural rubble left behind by the second world war and rejecting the consumer society that had emerged from the ruins, one band bravely announced that it wanted no part in this destruction. Jonathan Richman's Modern Lovers sang about how they still loved the old world. Neither parents nor girlfriends could understand, but the decaying inner city with its false promises of progress still held a fascination for Richman, who claimed he wanted to keep his place in this arcane landscape. Punk's assault on culture was the logical conclusion of modernism's linear narrative of art as a force of innovation that must reject preceding artistic movements to establish new ones. Echoing the negations of Dada, it set out to put an end to this narrative, an end to culture. It is partly because of this inherently destructive and totalising side of Modernism that it has come under harsh critique in the post modern era. Nevertheless, we are still caught up in the same dialectic of progress, revolution and destruction. Post modernism has failed to unseat our desire for the revolutionary moment, even as it has been co-opted to the degree of meaninglessness by the discourses of marketing and Capitalism. But, like Jonathan Richman, the artists in the exhibition "Modern Lovers" keep returning to modernism for something else. Instead of taking it at its word when it proffers revolution, they turn to it in search of reform. Still loving the old world and desiring a dialogue with the past, perhaps as an antidote to the eternal present of Capitalism, they are willing to engage with its aesthetics and ideas on equal ground. Leaving behind the ironic deconstructions of post modernism, they find perspectives worth salvaging and juxtapose them with contemporary visual productions. Trading in the grand narratives of modernity for a more personal approach, they don't seek the purity of form that drove the avant garde movements that inspire them but rather revel in adulteration, dilution and contamination of the past by the present". A live performance by sala-manca was sponsored by the British Council and took place May 26th, 19:00. MODERN LOVERS was accompanied by a catalogue (14.80 cm x 14.80 cm) including essays by Avi Pitchon, the sala-manca group and the curators. A discussion panel about the exhibition themes, as well as the catalogue launch,took place at Goldsmiths College's cinema on the 27th of May at 14:00, chaired by Dr. Suhail Malik (Senior Lecturer & Course Leader Postgraduate Fine Art Critical Studies at Goldsmiths College) and with the participation of Tom Morton (curator, Cubitt Gallery, and regular contributor to Frieze magazine), sala-manca (artist group), Dr. Amanda Beech (artist, curator and senior lecturer at the Wimbledon School of Art), Matthew Poole (course director of MA Gallery Studies, dept. of Art History and Theory at the University of Essex).

A child’s burial in unconsecrated ground in early modern Dorchester

Re-examination of a child burial found during excavations in advance of the construction of new offices for Dorset County Council in the north-west quarter of Dorchester in 1937 indicates that it is of early modern, rather than of Roman date, as originally believed at the time of excavation. A possible context is explored for the burial of a child in unconsecrated ground in the 17th century.

Learners’ perceptions of being identified as very able: insights from Modern Foreign Languages and Physical Education

While learners’ attitudes to Modern Foreign Languages (MFL) and to Physical Education (PE) in the UK have been widely investigated in previous research, an under-explored area is learners’ feelings about being highly able in these subjects. The present study explored this issue, among 78 learners (aged 12-13) from two schools in England, a Specialist Language College, and a Specialist Sports College. Learners completed a questionnaire exploring their feelings about the prospect of being identified as gifted/talented in these subjects, and their perceptions of the characteristics of highly able learners in MFL and PE. Questionnaires were chosen as the data collection method to encourage more open responses from these young learners than might have been elicited in an interview. While learners were enthusiastic about the idea of being highly able in both subjects, this enthusiasm was more muted for MFL. School specialism was related to learners’ enthusiasm only in the Sports College. Learners expressed fairly stereotypical views of the characteristics of the highly able in MFL and PE. The relevance of these findings for motivation and curriculum design within both subjects is discussed.

Conjecture, proof, and sense in Wittgenstein's philosophy of mathematics

One of the key tenets in Wittgenstein’s philosophy of mathematics is that a mathematical proposition gets its meaning from its proof. This seems to have the paradoxical consequence that a mathematical conjecture has no meaning, or at least not the same meaning that it will have once a proof has been found. Hence, it would appear that a conjecture can never be proven true: for what is proven true must ipso facto be a different proposition from what was only conjectured. Moreover, it would appear impossible that the same mathematical proposition be proven in different ways. — I will consider some of Wittgenstein’s remarks on these issues, and attempt to reconstruct his position in a way that makes it appear less paradoxical.

Military doctrine, command philosophy and the generation of fighting power: genesis and theory

Military doctrine is one of the conceptual components of war. Its raison d’être is that of a force multiplier. It enables a smaller force to take on and defeat a larger force in battle. This article’s departure point is the aphorism of Sir Julian Corbett, who described doctrine as ‘the soul of warfare’. The second dimension to creating a force multiplier effect is forging doctrine with an appropriate command philosophy. The challenge for commanders is how, in unique circumstances, to formulate, disseminate and apply an appropriate doctrine and combine it with a relevant command philosophy. This can only be achieved by policy-makers and senior commanders successfully answering the Clausewitzian question: what kind of conflict are they involved in? Once an answer has been provided, a synthesis of these two factors can be developed and applied. Doctrine has implications for all three levels of war. Tactically, doctrine does two things: first, it helps to create a tempo of operations; second, it develops a transitory quality that will produce operational effect, and ultimately facilitate the pursuit of strategic objectives. Its function is to provide both training and instruction. At the operational level instruction and understanding are critical functions. Third, at the strategic level it provides understanding and direction. Using John Gooch’s six components of doctrine, it will be argued that there is a lacunae in the theory of doctrine as these components can manifest themselves in very different ways at the three levels of war. They can in turn affect the transitory quality of tactical operations. Doctrine is pivotal to success in war. Without doctrine and the appropriate command philosophy military operations cannot be successfully concluded against an active and determined foe.