An obsession with storytelling : conducting oral history interviews for creative writing

Anna Hirsch and Clare Dixon (2008, 190) state that creative writers’ ‘obsession with storytelling…might serve as an interdisciplinary tool for evaluating oral histories.’ This paper enters a dialogue with Hirsch and Dixon’s statement by documenting an interview methodology for a practice-led PhD project, The Artful Life Story: Oral History and Fiction, which investigates the fictionalising of oral history. ----- ----- Alistair Thomson (2007, 62) notes the interdisciplinary nature of oral history scholarship from the 1980s onwards. As a result, oral histories are being used and understood in a variety of arts-based settings. In such contexts, oral histories are not valued so much for their factual content but as sources that are at once dynamic, emotionally authentic and open to a multiplicity of interpretations. How can creative writers design and conduct interviews that reflect this emphasis? ----- ----- The paper briefly maps the growing trend of using oral histories in fiction and ethnographic novels, in order to establish the need to design interviews for arts-based contexts. I describe how I initially designed the interviews to suit the aims of my practice. Once in the field, however, I found that my original methods did not account for my experiences. I conclude with the resulting reflection and understanding that emerged from these problematic encounters, focusing on the technique of steered monologue (Scagliola 2010), sometimes referred to as the Biographic Narrative Interpretative Method (Wengraf 2001, Jones 2006).

The relationship between spatial planning and economic competitiveness: the ‘path to economic nirvana’ or a ‘dangerous obsession’?

This paper offers a contribution to contemporary studies of spatial planning. In particular, it problematises the relationship between neoliberal competitiveness and spatial planning. Neoliberal competitiveness is a hegemonic discourse in public policy as it (allegedly) provides the ‘path to economic nirvana’. However, commentators have critiqued its theoretical underpinnings and labelled it a ‘dangerous obsession’ for policy makers. Another set of literatures argues that spatial planning can be understood as a form of ‘neoliberal spatial governance’ and read in a ‘postpolitical’ framework that ‘privileges competitiveness’. Synthesising these debates this paper critically analyses the application and operationalisation of neoliberal competitiveness in Northern Ireland and Belfast. In focusing on this unique case study—a deeply divided society with a turbulent history—the paper takes the debate forward in arguing that rather than offering the ‘path to economic nirvana’ neoliberal competitiveness is a ‘postpolitical strategy’ and represents a ‘dangerous obsession’ for spatial planning.

I killed my father, I ate human flesh, I quiver with joy: an obsession with Pier Paolo Pasolini

Group show, curated by Invisible Exports Gallery. Featuring work by Michael Bilsborough, Lizzi Bougatsos, BREYER P-ORRIDGE, Asger Carlsen, Troels Carlsen, Walt Cassidy, Andy Coolquitt, Vaginal Davis, Carlton DeWoody, Joey Frank, Paul Gabrielli, Ludovica Gioscia, Luis Gispert, Terence Hannum, Karen Heagle, Timothy Hull, Doug Ischar, Brian Kenny, Jeremy Kost, Aaron Krach, Yeni Mao, Leigha Mason, Mark McCoy, Robert Melee, Lucas Michael, Jennifer Needleman, Brent Owens, Paul P., Paolo Di Paolo, Franklin Preston, John Russell, Xaviera Simmons, Duston Spear, Scott Treleaven, Ramon Vega, Jordan Wolfson, Dustin Yellin

The pyjama girl mystery : a true story of murder, obsession and lies

The pyjama girl was an unknown woman, found dumped by a road nesrl Albury in 1934. She had been brutally murdered. Who was she, and who killed her, become Australia's great unsolved crime for decades. The body was preserved in formalin, her image circulated around the world. The mystery fascinated the nation and, for some, became an obsession. Ten years later, the body was identified and a man was convicted of her manslaughter. The case, it seemed, was neatlty solved. But this 'solution', advanced by police, accepted by the courts and the media, and since repeated endlessly, was a lie. Behind the lie is a troubling story of murder and obsession, of a wild conspiracy theory, of police corruption and a miscarriage of justice, and of a real killing which floated free from reality and became a myth.

The identity of sociology or what to do when the universe is unknown: qualitative solutions against the quantitative obsession

Social Sciences can, on occasions, be similar to the so called “hard” sciences. However, in many cases, neither the object nor the classical methods fit in with the objectives of the work. The object requires methodological and technical adjustments, which are often avoided by means of an improper rigidity of the object’s needs. These adjustments can even alter the original research idea. The main objective of this article consists of proving that those objects of study, less suitable to be addressed by rigid positivistic strategies, can be approached both scientifically and sociologically. This can be achieved with the use of different strategies and flexible methodologies to ensure validity and reliability standards. This paper will be posed, firstly, a reflection on the epistemological nature of the debate about the rigid-flexible perspectives. Secondly, the strategies and tools used by the research team to achieve the reduction of the uncertainty about the size and characteristics of the population studied will be described. Finally, some of the survey results obtained in this project will be compared to those provided by the FAMILITUR Survey (2008), conducted by the Spanish Institute of Tourist Studies (IET).

Ways of telling : research methodology for fashion textiles design

Research methodology in the discipline of Art & Design has been a topic for much debate in the academic community. The result of such avid and ongoing discussion appears to be a disciplinary obsession with research methodologies and a culture of adopting and adapting existing methodologies from more established disciplines. This has eventuated as a means of coping with academic criticism and as an attempt to elevate Art & Design to a ‘real academic status’. Whilst this adoption has had some effect in tempering the opinion of Art & Design research from more ‘serious’ academics the practice may be concealing a deeper problem for this discipline. Namely, that knowledge transfer within creative practice, particularly in fashion textiles design practice, is largely tacit in nature and not best suited to dissemination through traditional means of academic writing and publication. ----- ----- There is an opportunity to shift the academic debate away from appropriate (or inappropriate) use of methodologies and theories to demonstrate the existence (or absence) of rigor in creative practice research. In particular, the changing paradigms for the definitions of research to support new models for research quality assessment (such as the RAE in the United Kingdom and ERA in Australia) require a re-examination of the traditions of academic writing and publication in relation to this form of research. It is now appropriate to test the limits of tacit knowledge. It has been almost half a century since Michael Polanyi wrote “we know more than we can tell” (Polanyi, 1967 p.4) at a time when the only means of ‘telling’ was through academic writing and publishing in hardcopy format. ----- ----- This paper examines the academic debate surrounding research methodologies for fashion textiles design through auto-ethnographic case study and object analysis. The author argues that, while this debate is interesting, the focus should be to ask: are there more effective ways for creative practitioner researchers to disseminate their research? The aim of this research is to examine the possibilities of developing different, more effective methods of ‘telling’ to support the transfer of tacit knowledge inherent in the discipline of Fashion Textiles Design.

One night stand : only you

Technical: This looped video work is made up from a number of still images animated in a sequence, not intended to be a smooth action, but syncopated. The gaps in real time suggest blinking, lapses in technology, warps in time and distance. The still images have been manipulated in photoshop and imported into an animation software program, showing subtle emphasis on various aspects of the features of the face and location from the screen shots. Content: Obsession is one of the most constant expressions of love, whether it is a negative attribute, such as stalking, or the need to see or stroke the beloved, or telling and re-telling the story of first meeting. “like the beat, beat, beat of the tom tom when the jungle shadows fall like the tick, tick, tock of the stately clock as it stands against the wall like the drip, drip drip of the rain drops when the summer shower’s through a voice within me keeps repeating you, you, you… only you...” (Cole Porter, Night and Day) My desire to immerse myself in my newly-met adult daughter as a reality is as obsessive as any new parent. The primary means of contact is video cam, which has become a kind of surveillance for me. I stare at her mouth as it moves, her ear as she moves her head, her smile, her grimaces, her high cheekbones, her eyes that are like mine, the shape of her head, her teeth that are like her father’s… hundreds of candid pictures screen shot over a year and a half were the source of the video images.

Guillermo Gómez-Peña : a "new age shaman” in a bohemian theme park

The Marquis de Sade was declared, “the fist commandment of art is ‘never to bore,’” and perhaps no other artist of his generation has embodied this sentiment more than Guillermo Gómez- Peña, the Mexican-born performance artist and cultural theorist living in San Francisco. Since the early 1980s Gómez-Peña, along with his performance troupe La Pocha Nostra, have been engaged in “reverse anthropology” staging “postcolonial” performances that foreground race and intervene in our cultural fears and desires by focusing on our obsession with the exotic. He deftly navigates the “post-multicultural” world – accelerated by globalization and nation branding – by using elaborate performative and interactive elements that expose (to the audience) their deeply embedded cultural stereotypes and desires for the other.

Everything you do : young adult fiction and surveillance in an age of security

Espionage, surveillance and clandestine operations by secret agencies and governments were something of an East–West obsession in the second half of the twentieth century, a fact reflected in literature and film. In the twenty-first century, concerns of the Cold War and the threat of Communism have been rearticulated in the wake of 9/11. Under the rubric of ‘terror’ attacks, the discourses of security and surveillance are now framed within an increasingly global context. As this article illustrates, surveillance fiction written for young people engages with the cultural and political tropes that reflect a new social order that is different from the Cold War era, with its emphasis on spies, counter espionage, brainwashing and psychological warfare. While these tropes are still evident in much recent literature, advances in technology have transformed the means of tracking, profiling and accumulating data on individuals’ daily activities. Little Brother, The Hunger Games and Article 5 reflect the complex relationship between the real and the imaginary in the world of surveillance and, as this paper discusses, raise moral and ethical issues that are important questions for young people in our age of security.

Happily ever after: Romance, gender and the building blocks of domestic violence

My sister describes the state of something being a psychological or personal 'issue' - such as a trauma, compulsion, phobia, or obsession - as having 'brain spaghetti'. For example, apparently she has spaghetti about me pinning her down as a child and tickling her until she screamed for mercy. She knows this because when her spouse tried to do the same, the experience she had as a child came flooding back as a complex tangle of fears, feelings, and mental images. Notwithstanding the trauma inflicted on a sibling in my youth, the spaghetti metaphor is a simple but useful tool for explaining how complex our experiences are, and I bring it up here because I believe a lot of people have spaghetti about love. So much so, that often love becomes distorted, sometimes to the point of making one completely blind to manipulation and abuse. Part of the blame for 'love spaghetti' can be allotted to media depictions of romance and gender, which helps entrench and maintain our deeply held beliefs about what relationships should look like.

Paradox between democracy and security- case study on Pakistan

Pro gradu-tutkielma tutkii demokratian ja turvallisuuden paradoksia Pakistanissa esitellen kuusi tekijää, jotka vaikuttavat kyseiseen paradoksiin. Näitä tekijöitä ovat historiallinen kehitys; eliittihallinto; taloudellinen kehitys; Pakistanin poliittisten tekijöiden demokratian eri määritelmät; opetuksen puuttuminen; ja valtataistelu hallituksen, armeijan, tiedustelupalvelun, oikeusjärjestelmän, poliittisten puolueiden sekä eri heimojen, uskonnollisten ja etnisten ryhmien välillä. Tutkimus tarkastelee myös sitä miten nämä tekijät vaikuttavat demokratian kehitykseen Pakistanissa. Keskeinen argumentti on, että länsimainen demokratia ei esiinny eikä toimi Pakistanissa vallitsevissa oloissa, etenkin historiallisen kehityksen ja ulkoisen turvallisuuden takia. Pro gradu-tutkielma käyttää sekundäärisiä lähteitä, kuten kirjoja, artikkeleita, maaraportteja, kommentaareja sekä omiin kokemuksiin perustuvia havaintoja Pakistanin matkalta 2010-2011. Keskeiset teoriat gradussa ovat Guillermo O’ Donnelin delegaattidemokratia sekä Duncan McCargon eliittihallintoteoria, jotka yhdessä selittävät historiallista kehitystä ja eliittihallinnon dynamiikkaa, mitkä johtavat paradoksiin. Kautta historian armeija on hallinnut Pakistania, ja siviilihallinto on ainoastaan neljä kertaa onnistunut olemaan vallassa, mutta silloinkin siviilihallinto päättyi korruptioväitteisiin tai armeijan vallankaappaukseen. Armeijahallinnoille on luonteenomaista hyvät suhteet USA:n, positiivinen taloudellinen kehitys ja vakaus, kun taas siviilihallinnot ovat epävakaita ja korruptoituneita. Tämä kehitys on paradoksin tausta, joka rakentuu turvallisuuspoliittisen tilanteen pohjalle eli hallitusten ja muiden tekijöiden yritykseen löytää vastapaino Intian uhalle. Tämä on ollut keskeinen huoli kelle tahansa poliittiselle päättäjälle itsenäisyydestä lähtien. Loputon valtataistelu eri poliittisten tekijöiden kesken sekä eliittihallinto pitävät yllä paradoksia, koska eliitit ovat kiinnostuneempia oman valtansa säilyttämisestä kuin kansan tahdon huomioonottamisesta. Koska valtaosa ihmisistä ei ole koulutettuja, he ovat paljolti kiinnostuneita omasta selviytymisestään, ja tämän takia sekä kansa että eliitit suosivat armeijahallintoa, koska se tuo vakautta ja taloudellista kehitystä. Sen vuoksi vallitsevissa oloissa demokratian tulevaisuus Pakistanissa näyttää huonolta, koska liberaalidemokratian vaatimukset eivät täyty puoliksi vapaan oikeussysteemin, puoliksi vapaan lehdistön, valtavan korruption ja monien ihmisoikeusloukkauksien takia unohtamatta armeijan ja tiedustelupalvelun sekaantumista siviilihallintoon.