The Political Economy of Swift's Satires and other Prose Works

Jonathan Swift wrote perceptively about the emerging commercial society
in Britain in the early eighteenth century. His particular focus was on the
financial revolution and its implications for economic and political stability
as well as for shifts of power between the landed and commercial
classes. Following his return to Ireland Swift’s focus shifted to the developmental
problems of his native country. In several pamphlets he advocated
consumption of domestic products, challenged existing political
structures and made trenchant criticisms of absenteeism and other dysfunctional
aspects of the land tenure system. Swift’s politico-economic
concerns are fully reflected in his best known work, Gulliver’s Travels but
his most pointed criticism of the emerging commercial system is contained
in A Modest Proposal. Written in the form of an economic pamphlet, A
Modest Proposal is ostensibly designed to address the problem of poverty
in Ireland. In addition to its implicit criticism of economic policy in Ireland,
the pamphlet challenges the separation of economics and morality as
evidenced in the writings of William Petty and Bernard Mandeville. Swift
parodies Petty’s political arithmetic but it is suggested here that he also
had in his sights the consequentialist reasoning present in the work of
both authors but explicitly so in Mandeville.
Keywords: financial revolution, public debt, paper credit, rationality, political
arithmetic, consequentialism, Petty (William), Mandeville (Bernard)

From Notation to Composition:How in my practice the exploration of notational possibilitieshas led to new compositional opportunities

This paper explores my experiments with computer animated notation. It examines how I turned to
computer animated notation to address issues with static musical notation. In particular looking at
the work of Nancarrow, Cage, Tenney, and how a number of these composers' approaches
presented difficult challenges for traditional musical notation. I then discuss how computer
animated notation can provide some interesting solutions to the notational problems provoked in
these works.
In the second part of the paper I investigate how addressing these notational challenges has led to
new prespectives on the compositional process and has introduced new considerations into my
compositional practice including time as musical material, real-time and multi-nodal interaction
with the score, networked score environments with the possibility of physically distributed
performance, performer feedback and communication, and interaction between notation and other
media including visual media and movement.

Belfast's Traditional Music Scene: A Narrative of Change and Development

Today Belfast is home to a vibrant traditional music scene. There have never been more sessions, concerts, classes or lectures devoted to traditional music in the north's biggest city. A complex system of promoters, performers and listeners has emerged in a city that is growing in confidence as it moves away from the dark days of the Troubles. But how does this system function? While Dowling (2014) has examined the development of traditional music-making in Belfast as it shifted from a pre-conflict to conflict ridden environment, little research has been carried out into the reasons behind the boom in traditional music-making in a post-conflict setting.

This paper examines the impact upon the traditional music scene of the first wave of students to arrive in Belfast after the signing of the Good Friday Agreement in 1998. These musicians, such as Donal O'Connor, Ruadhrai O'Kane and Aidan Walsh have had a lasting impact upon the lives of musicians native to Belfast, helping to bring traditional music to new venues and audiences.

The work of Belfast-based music schools with varying remits, such as Belfast Trad., and the Andersonstown School of Traditional and Contemporary Music, is also examined for the purpose of illustrating how both adults and young people are being educated about their musical heritage.

Playing free: an ethnography of Brazilian free improvisers

In this article I investigate the practice of free music improvisation in Brazil. The reflections and findings presented here are derived from research conducted as part of a four months Higher Education Academy (HEA, UK) Fellowship, carried out between February and June 2014. The aim was to enquire whether or how the practice of free improvisation is taught in the Brazilian higher education system.
As part of this ethnographic study visits to the following universities were scheduled:
The Federal University of Rio de Janeiro - UFRJ
The Universidade Federal do Estado do Rio de Janeiro (UNIRIO)
The University of São Paulo - USP
The Federal University of Minas Gerais – UFMG
The Federal University of Bahia – UFBA.
The Federal University of Rio Grande do Norte in Natal (UFRN) and
The ELM, the Escola Livre de Música in Unicamp.

I discuss here some general background thinking to the research process, specifically recalling the work of French composer and educator Alain Savouret. I proceed to examine the improvisational spirit, the improvisatory worldmaking approach (the ‘jeitinho brasileiro’) that is often considered to be integral to the Brazilian way of life. In the final part of the article I discuss applied ethnographic methodologies, including the design of questions that were used for over 50 video interviews with Brazilian musicians during the research. I conclude with a final reflection on the video interviews with a specific focus on whether free improvisation can be taught, and the importance of listening in the context of free improvisation practices.

Understanding the 'production' of the schooling identities of young working class boys: time to move beyond the sociological/psychological divide?

In recent times the sociology of childhood has played an important role in challenging the dominance of Piagetian models of child development in shaping the way we think about children and childhood. What such work has successfully achieved is to increase our understanding of the socially constructed nature of childhood; the social competence and agency of children; and the diverse nature of children’s lives, reflecting the very different social contexts within which they are located. One of the problems that has tended to be associated with this work, however, is that in its critique of developmentalism it has tended simply to replace one orthodoxy (psychology) with another (sociology) rather than providing the opportunity to transcend this divide. The purpose of this paper is to demonstrate some of the potential ways in which the sociological/psychological divide might be transcended and the benefits of this for understanding, more fully, the ‘production’ of children’s schooling identities. In particular it shows how some of the key sociological insights to be found in the work of Bourdieu may be usefully extended by the work inspired by the developmental psychologist, Vygotsky. The key arguments are illustrated by reference to ethnographic data relating to the schooling experiences and identities of a group of 5-6 year old working class boys.

Preschool Children's Awareness of and Attitudes Toward Difference: A Study of 3- and 4-Year-Old Children in Northern Ireland

This paper presents the findings of a large-scale survey (n = 1,049) of the ethnic awareness and attitudes of 3-4 year old children in Northern Ireland. In drawing upon and applying Bourdieu’s notion of habitus, the paper demonstrates how even at this age, the children are already beginning to embody and internalize the cultural habits and dispositions of their respective ethnic groups. This was found in relation to the children’s: friendships choices; preferences for particular national flags; and dispositions towards specific sports associated with their respective communities. Informed by the work of Bourdieu, the paper concludes by arguing for the need for greater use of quantitative methods employing multivariate and multilevel statistical analyses and for these to be based on a more open and meaningful engagement with the findings of indepth qualitative and ethnographic research in this area.

A predatory patchwork:membrane and surface structures of Bdellovibrio bacteriovorus

Predatory Bdellovibrio bacteriovorus bacteria are remarkable in that they attach to, penetrate and digest other Gram-negative bacteria, living and replicating within them until all resources are exhausted, when they escape the prey ghost to invade fresh prey. Remarkable remodeling of both predator and prey cell occurs during this process to allow the Bdellovibrio to exploit the intracellular niche they have worked so hard to enter, keeping the prey "bdelloplast" intact until the end of predatory growth. If one views motile non-predatory bacteria in a light microscope, one is immediately struck by how rare it is for bacteria to collide. This highlights how the cell surface of Bdellovibrio must be specialized and adapted to allow productive collisions and further to allow entry into the prey periplasm and subsequent secretion of hydrolytic enzymes to digest it. Bdellovibrio can, however, also be made to grow artificially without prey; thus, they have a large genome containing both predatory genes and genes for saprophytic heterotrophic growth. Thus, the membrane and outer surface layers are a patchwork of proteins encompassing not only those that have a sole purpose in heterotrophic growth but also many more that are specialized or employed to attach to, enter, remodel, kill and ultimately digest prey cells. There is much that is as yet not understood, but molecular genetic and post-genomic approaches to microbial physiology have enhanced the pioneering biochemical work of four decades ago in characterizing some of the key events and surface protein requirements for prey attack.

The Routledge Handbook of Irish Criminology

The Routledge Handbook of Irish Criminology is the first edited collection of its kind to bring together the work of leading Irish criminologists in a single volume. While Irish criminology can be characterised as a nascent but dynamic discipline, it has much to offer the Irish and international reader due to the unique historical, cultural, political, social and economic arrangements that exist on the island of Ireland.

City of Dreams? Belfast, planning and the ‘myth’ of development

The future of Belfast is found in its plans – beginning with 1945 planning proposals to the recently adopted Belfast Metropolitan Area Plan, these documents have aimed to encourage and channel urban development processes to secure collective outcomes that enhance the public interest. Central to this objective has been the idea of ‘development’ and in this paper we interrogate the representation of this concept in the urban discourse of Belfast. We seek to do this by first exploring how ‘development’ and associated concepts are articulated in key spatial policy documents and then contrast these with examples of some of the key physical, spatial outcomes of economic processes that have occurred in the last ten years. The paper will review the dominant trajectories of urban change in Belfast, consider their implications and relate these to the official goals and aspirations represented in planning strategies and regeneration visions for the city. In doing this we draw on the recent work of Marcuse (2015) to identify how ideas of ‘development’ and ‘growth’ have been used to anonymise, harmonize and homogenise the outcomes of these spatial processes. The paper will conclude by considering how Belfast’s urban discourse acts to suppresses alternative visions of the city and explores the potential consequences of this for the new governance arrangements for planning in Belfast.

Atlas of European Historiography: The Making of a Profession, 1800-2005 (Writing the Nation)

The collection of the data for this volume formed part of the work of the European Science Foundation project on Writing National Histories. I was a member of the Research Team (1) which produced the volume. I also wrote two contributions for the Atlas. I collected the data and wrote the section on academic historians in Ireland. I also wrote a synthesis of the data on academic women historians in Europe, 1815-2005.

'When I Look I am Seen, So I Exist to Change': Supplementing Honneth's Recognition Model for Social Work

The subject of identity continues to attract widespread interest and debate in the social sciences. The nature of who we are, our potential to be different, and our similarity with others, underpins many present-day social issues. This paper contributes to this debate by examining critically the work of Axel Honneth on optimal identity-formation. Although broadly supporting Honneth’s chief construct of inter-personal recognition, a gap in his thinking is highlighted and addressed through proffering a fourth dimension to his tripartite model. This additional dimension requires demonstrations of recognition that instil hope in the face of hardship and empower positive transformations in identity. The implications of this reworked model for social work are then considered in terms of a range of approaches that can be utilised to build flourishing identities characterised by self-esteem, self-confidence, self-respect and self-belief.

Liminal Lines:work for euphonium and live electronics

This is the first in series of works that explores the edges of musical styles, in particular the musical language associated with the brass band traditions and the relationship between this performance genre and the work of experimental electronic composition.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Raymond Geuss’ radicalization of realism in political theory

Raymond Geuss has been viewed as one of the figureheads of the recent debates about realism in political theory. This interpretation, however, depends on a truncated understanding of his work of the past 30 years. I will offer the first sustained engagement with this work (in English and German) which allows understanding his realism as a project for reorienting political theory, particularly the relationship between political theory and politics. I interpret this reorientation as a radicalization of realismin political theory through the combination of the emphasis on the critical purpose of political theory and the provision of practical, contextual orientation. Their compatibility depends on Geuss’ understanding of criticism as negative, of power as ‘detoxified’ and of the critical purchase of political theory as based on the diagnostic engagement with its context. This radicalization particularly challenges the understanding of how political theory relates to its political context.