‘Facing the Fact: Word and Image in Muriel Rukeyser’s “Worlds Alongside”’

This essay explores an example of a little-known, yet highly significant part of Rukeyser’s early oeuvre: the magazine photo-narrative. Profoundly engaged with the documentary expression of the 1930s, Rukeyser utilised the genre’s methods, aesthetics and images to create a hybrid text reporting the realities of the Depression in lyrical, imaginative terms. The result is a conflation of what Rukeyser understood to constitute poetry, and therefore life: the document and the unverifiable fact, presented in an innovative format that is shaped by Rukeyser’s ethical poetics of connection to construct lessons in creative exchange and being in the world.

Parallel Programming

Recent trends in computing systems, such as multi-core processors and cloud computing, expose tens to thousands of processors to the software. Software developers must respond by introducing parallelism in their software. To obtain highest performance, it is not only necessary to identify parallelism, but also to reason about synchronization between threads and the communication of data from one thread to another. This entry gives an overview on some of the most common abstractions that are used in parallel programming, namely explicit vs. implicit expression of parallelism and shared and distributed memory. Several parallel programming models are reviewed and categorized by means of these abstractions. The pros and cons of parallel programming models from the perspective of performance and programmability are discussed.

Creating a Circus of Words, Music, and Sound: From Roaratorio to Owenvarragh

This article documents the creation of a work by the authors based on a score written by the composer John Cage entitled 'Owenvarragh: A Belfast Circus on The Star Factory.' The article is part of a documentary portfolio in the journal which also includes a volume of the poetry created by Dowling in accordance with the instructions of the Cage score, and a series of documentary videos on the creation of the work and its first performance. Cage's score is based on his work 'Roaratorio: An Irish Circus on Finnegan's Wake' (1979) and it provides a set of detailed instructions for the musical realisation of a literary work. The article documents this first fully realised version of the score since Cage first produced 'Roaratorio' in 1979. The work, which was motivated by the Cage centenary year in 2012, musically realises Carson's book 'The Star Factory' (1998), a novelestic autobiography of Carson's Belfast childhood. The score required the creation of a fixed media piece based on over 300 field recordings of the sounds and places mentioned in the book, a volume of poetry created from the book which is recited to form the rhythmic spine of the work, and the arrangement of a performance including these two components along with live musical performance by the authors in collaboration with three other musicians under their direction, and a video installation created for the work. The piece has been performed three times: in association with the Sonorities 2012 Festival at Queen's University of Belfast (March 2012), at The Belfast Festival at Queen's (October 2012), and in the Rymer Auditoium of the University of York (June 2013).

Additional information:

The work which the article documents was conceived by Monaghan and Dowling, and the project was initiated by Monaghan after a she received a student prize to support its development and first performance. Elements of the project will be included in her PhD dissertation for which Dowling is a supervisor. Monaghan created the fixed media piece based on over 300 field recordings, the largest single aspect of realising Cage's score. Dowling was responsible for initiating the collaboration with Ciaran Carson, and for two other components: the creation of a volume of poetry derived from the literary work which is recited in the performance, and the creation of and supervision of the technical work on a video which accompanies the piece. The co-authors consulted closely during the work on these large components from May 2011 until March 2012 when the first performance took place. The co-authors also shared in numerous other artistic and organisational aspects of the production, including the arrangement and performnance of the music, musical direction to other performers, and marketing.

Gendered Spaces and Wounded Bodies: Yamina Benguigui's 'Inch'Allah Dimanche'

Yamina Benguigui is a pioneer in the representation of Maghrebi immigration to France, and has produced a number of works of documentary and fictional film on the subject. This article discusses her fictional film Inch'Allah dimanche (2001). The film portrays the trajectory of a young woman, Zouina, who takes her children and mother-in-law to join her husband in France. The film is unique for its close focus on the space of the home, and the negotiation of gendered spaces within the strict confines set by Zouina's husband. In this article, I consider Zouina's tentative steps towards emancipation from these confines, focusing on preconceived notions of gendered spaces across different cultures. I consider possible interpretations of the final moment of wounding in the film, in which Zouina breaks through a window with her bare hands, destroying the barrier between the interior, private space of the home and the exterior, public space of the street.

WB Yeats: No Country for Old Men

I originated, developed and wrote this one-hour documentary for RTE Television on newly discovered aspects of the life of WB Yeats. I am credited as producer and co-writer.

Ballybrando

I was writer and creative producer on this hour-long documentary for RTE Television about Marlon Brando's involvement in a failed movie filmed in Ireland.

Planning for Renewable Energy: Lessons from the UK’s Devolved Administrations

The planning system has been put forward as a key element in facilitating the low carbon transition (Bulkeley 2006, While 2008), by reducing carbon footprints through initiatives such as encouraging less-energy intensive development, reducing the need to travel or promoting sustainable forms of transport. It has also played a key role on encouraging a shift to more renewable sources of energy, through establishing the spatial ‘rules’ for its regulation, consenting of specific projects and acting as the key arena for mediating a range of social concerns over the resulting socio-technical shift. Despite having this key facilitative role, planning is also regularly seen as a key impediment to renewables, particularly on-shore wind (Ellis et al 2009). There is however, little known about what makes the ‘best’ approach to planning for renewables and indeed little discussion on how to judge the effectiveness of a planning regime for this issue – is it one that maximises generating capacity, protects or landscapes or biodiversity, or perhaps one that maximises social acceptance of renewable developments?

The UK offers a useful context for exploring these issues, with its four main territories (England, Northern Ireland, Scotland and Wales) having broadly similar institutional arrangements, but autonomy over spatial planning during the period in which renewables expanded across the landscape. Each of these jurisdictions has sought to use their planning system to encourage renewables with subtlety different discourses, regulations and spatial strategies. Such an ‘experiment’ offers some important insight into what ‘works’.

This paper will draw on a two year study funded by the UK’s Economic and Social Research Council (RES-062-23-2526), which has charted the effects of devolved administrations on policy and delivery of renewable energy from 1990 to 2012. Drawing on more than 80 interviews, documentary analysis and secondary data sources it describes the growth of renewable capacity in each jurisdiction, explores the spatial strategies adopted and analyses the way in which the broader institutional frameworks in which planning for renewables has emerged. The paper uses this analysis to consider the lessons that can be drawn from the comparable experience of the devolved administrations in the UK and points to the ways in which we should evaluate the effectiveness of planning regimes for renewable energy.

The legacy of Hillsborough:Liberating truth, challenging power

In April 1989, ninety-six men, women and children, supporters of Liverpool Football Club, died in a severe crush at an FA Cup semi-final at Hillsborough Stadium, Sheffield. Hundreds were injured and thousands traumatised. Within hours, the causes and circumstances of the disaster were contested. While a judicial inquiry found serious institutional failures in the policing and management of the capacity crowd, no criminal prosecutions resulted, and the inquests returned ‘accidental death’ verdicts. Immediately, the authorities claimed that drunken, violent fans had caused the fatal crush. Denied legitimacy, survivors’ accounts revealed a different story criticising the parlous state of the stadium, inadequate stewarding, negligent policing, failures in the emergency response and flawed processes of inquiry and investigation. Reflecting on two decades of research and contemporaneous interviews with bereaved families and survivors, this article contrasts the official discourse with those alternative accounts – the ‘view from below’. It demonstrates the influence of powerful institutional interests on the inquiries and investigations. It maps the breakthrough to full documentary disclosure following the appointment of the Hillsborough Independent Panel, its research and key findings published in September 2012. The campaigns by families and survivors were vindicated and the fans, including those who died, were exonerated. The process is discussed as an alternative method for liberating truth, securing acknowledgement and pursuing justice.