Democracy and identity: educating the student voice

Considering the role of student voice in music education in connection with the role of music in identity formation. A report on a small-scale study.

Vermillion Vortex

An animated film commissioned and screened by Art Review Magazine on their website (Oct-Dec 2010), and a double page comic strip (Art Review, Oct 2010. The project addresses a key problem with contemporary debates regarding ideas of ‘performativity’ and ‘fictioning’ (Foucault/Deleuze/Butler) whereby the structural requirement for an ‘End’ pre-determines or back-codes the ‘story’ or progression of events leading up to this ‘End’ and therefore cuts against the potentials claimed for ‘performance’ and ‘performativity’. Film credits Primary soundtrack: Music: Rose Kallal. Spoken word: Mark Beasley Voices: Katie Barrington, Marnie Watts, Maria Deegan & John Russell Sound engineer: Bob Geal PLUS Special bonus track: (after 'The End'): 'Strychnine Motive' (2011) by Gum Takes Tooth

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.

Critical Mass: Sermon for the Church of the Atom (part of A Theatre to Address at Arnolfini, Bristol and Late at Tate Britain)

A Theatre to Address explores the work of contemporary artists who use text as both a visual and sonic form. In this programme, text appears not primarily as a means of communication, but as something which has shape and structure of its own. The Reading Room will also be displaying work that looks at text as concrete or visual poetry, and the script in artists' practice. Clare Gasson presents a new work The traveller - walking walking walking through ... that explores the connection between the text, the rhythm and the action. Maryam Jafri presents a performance-lecture Death With Friends, a body of visual and textual material that forms the basis for her new film of the same name. Pil and Galia Kollectiv present a radical worship for the apocalypse, featuring a sermon for the Church of the Atom with live music by Gelbart.

Letterforms for handwriting and reading: print script and sanserifs in early twentieth-century England

This essay is about letterforms and typography in reading books for young children and how they were influenced by the teaching of handwriting in the early decades of the twentieth century. I examine the contributions made by infant teachers to typography and book design and draw particular attention to the print script movement and the gradual introduction of sanserif typefaces in reading books. I suggest that the use of sanserifs in reading books for young children is one of their first appearances for continuous text. Although the influence of print script on the teaching of handwriting may have had some undesirable effects, I suggest that it indirectly contributed to some innovations in book design.

Replication enhancer elements within the open reading frame of tick-borne encephalitis virus and their evolution within the Flavivirus genus

We provide experimental evidence of a replication enhancer element (REE) within the capsid gene of tick-borne encephalitis virus (TBEV, genus Flavivirus). Thermodynamic and phylogenetic analyses predicted that the REE folds as a long stable stem–loop (designated SL6), conserved among all tick-borne flaviviruses (TBFV). Homologous sequences and potential base pairing were found in the corresponding regions of mosquito-borne flaviviruses, but not in more genetically distant flaviviruses. To investigate the role of SL6, nucleotide substitutions were introduced which changed a conserved hexanucleotide motif, the conformation of the terminal loop and the base-paired dsRNA stacking. Substitutions were made within a TBEV reverse genetic system and recovered mutants were compared for plaque morphology, single-step replication kinetics and cytopathic effect. The greatest phenotypic changes were observed in mutants with a destabilized stem. Point mutations in the conserved hexanucleotide motif of the terminal loop caused moderate virus attenuation. However, all mutants eventually reached the titre of wild-type virus late post-infection. Thus, although not essential for growth in tissue culture, the SL6 REE acts to up-regulate virus replication. We hypothesize that this modulatory role may be important for TBEV survival in nature, where the virus circulates by non-viraemic transmission between infected and non-infected ticks, during co-feeding on local rodents.

Reading Derrida on mathematics

This article engages with the claims of Anne Brubaker that “[n]ow that the dust has settled after the so-called ‘Science Wars’ […] it is an opportune time to reassess the ways in which poststructural theory both argues persuasively for mathematics as a culturally embedded practice – a method as opposed to a metaphysics – and, at the same time, reinscribes realist notions of mathematics as a noise-free description of a mind independent reality.” Through a close re-reading of Jacques Derrida’s work I argue, in alliance with Vicki Kirby’s critique of the work of Brian Rotman, not only that Brubaker misunderstands Derrida’s “writing” but also that her argument constitutes a typical instance of much wider misreadings of Derrida and “poststructuralism” across a range of disciplines in terms of the ways in which her text re-institutes the very stabilities it itself attributes to Derrida’s texts.