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In his marking of the consequential vicissitudes that attend the more primary instincts, Freud articulates history as the discursive operation of the psychoanalytic undertaking. But his ambivalence toward the requisite writing of that articulated history comes through when he introduces the narrative genre of the case study. The first part of this article examines Freud’s implicit proposition that psychoanalysis is a complex articulation of history in that symptoms are noted and inscribed as consequential, present indicators of causal instincts (Triebe) that have been variously and “fatefully” rerouted. The second part reads Freud’s defensive presentation of the first case history, the “broken fragment” of Dora and her hysteria, considering Freud’s ambivalence toward his own historiographic operation. Freud’s ambivalence in relation to his new genre of narrative writing illustrates the more general productive ambivalence of historiography as outlined by Michel de Certeau.

In this paper, we review three influential theories of imagination in order to understand how the dynamics of imagination acts could be modeled using formal languages. While reviewing them, we notice that they are not detailed enough to account for all the mechanisms involved in creating and developing imaginary worlds. We claim those theories could be further refined into what we call the Common Frame for Imagination Acts, which defines a framework that can be used to study the dynamics of imagination using formal languages, and we support our claim by showing how the framework allows to model certain imagination acts step by step. Then, we introduce the Rhombus of Imagination, which is a visual tool that can be used in conjunction with our framework to study the procedural structure of different kinds of imagination acts and identify their dynamic properties.

Essay contextualising artist Chris Down's series of British military personnel retuned from deployment.

Themes of surveillance, privacy, loss of freedom and Totalitarianism are explored in response to George Orwell’s prescient novel 1984 and those related to the control of women’s fertility and sexuality are tackled through analysis of Margaret Attwood’s chilling novel The Handmaid’s Tale. Prestigious publisher The Folio Society commissioned the sisters Elena and Ana Balbusso to respond visually to Attwood’s dystopian tale and illustrator Jonathan Burton was commissioned to visualise Orwell’s 1984 in 2012 and 2014, respectively. A striking adaptation of Attwood’s novel was created in Graphic Novel format by ‘Visual Storyteller ‘Renee Nault and in 1999 , to celebrate 50 years of the inception of 1984 ‘, illustrator Alex Williamson created a series of powerful images in a book commissioned by Secker and Warburg. Each illustrator tackles the subject with a unique voice that conveys their personal interpretation of the narrative.\ud Key Words: Margaret Attwood, George Orwell, The Handmaid’s Tale, 1984, Ana and Elena Balbusso, Alex Williamson, Jonathan Burton, Renee Nault , Dystopias, Panopticon, Jeremy Bentham , Shoshana Zuboff, Feminism, Totalitarianism, Big Brother, Thought Police , Fertility, Power .

In order to be successfully integrated in our society, artificial moral agents need to know not only how to act in a moral scenario, but also how to identify the scenario first as being morally-relevant. This work looks at certain complex video games as simulations of artificial societies and studies the way in which morally-qualifiable actions are identified and assessed in them. Then, this analysis is used to distill a general formal model for moral actions aimed to be used as a first step towards identifying morally-qualifiable actions in the field of artificial morality. After discussing which elements are represented in this model, and how they are enhanced with respect to those already existing in the analyzed games, this work points out to some caveats that those games fail to address, and which would need to be tackled properly by artificial moral systems.

Artificial intelligent (AI) systems making autonomous decisions are present in many areas of our everyday lives. Ideally, and in order to facilitate the integration of these systems into our society, citizens should avoid thinking neither that AI resembles those rogue systems often found in fictional works, nor that it has an intrinsic understanding of human well-being, as both cases would draw a biased picture of what AI actually is. This position paper argues, through some examples, how the terminology used in certain articles aimed for the general public often depict AI as one of those two aforementioned images, which attribute intentions and moral values that those systems do not have and which could, in turn, have a detrimental effect on the way the general public understand (and are willing to accept) those systems into our everyday lives.

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work.

Shadow characters appear in narratives throughout history and illustrated formats provide opportunities for rich interpretations of themes which shock, titillate and make us question our very nature as humans. Through analysis of two classic novels - Dr Jekyll and Mr Hyde and A Picture of Dorian Gray and through studies of visual interpretations of these, themes of evil and the duality of human nature are explored. The roles of both illustrator and writer ,in terms of representations of dark characters, is key to an understanding of and identification with the darker and less acceptable parts of ourselves – the parts that Carl Jung suggested that , through psychological repression ,we relegate to the unconscious. The illustrators of these stories brought these characters out from the shadows and into the light through rich and expressive visual representations .

This chapter describes and compares four approaches to the creation and use of audio-visual interactive systems for the live performance of popular music. These approaches were identified through a practice-led approach in which the underlying aim was to create a portfolio of work for live performance that demonstrated a high degree of liveness and interactivity. The four approaches were:\ud • Controller-based interactive-generative tools\ud • Multi-tool systems for guitar and vocal performance\ud • Systems controlled by typing the lyrics of a piece\ud • Systems based on real-world metaphors \ud Following a review of current issues in the live performance of electronic music, recent theories of liveness and interactivity are discussed. Four aspects of liveness are identified from these theories that form the basis for the comparisons between the four approaches listed above. Other work making use of similar approaches is then reviewed, before a discussion on the use of interactive systems in popular music. After an overview of the practice-led methodology used in the project, the four approaches to creating interactive systems are discussed in detail, with reflections on the level of interactivity and the suitability of each type of system for popular music. \ud Comparisons between the approaches reveal that systems based on real-world metaphors demonstrated the highest levels of liveness. This approach enabled the system to have a presence in space and time distinct from the human performer (spatio-temporal liveness); to reveal the causes of sounds (corporeal liveness), demonstrate interactivity with the human performer (interactive liveness) and reveal the ideas and creative processes behind the composition (aesthetic liveness). The metaphor approach was also well-suited to popular music while allowing significant levels of interactivity during composition and live performance.

Many illustrators have adopted “The Uncanny” and embraced it as the characteristic psychological effect of their illustrative style. While we might argue that other discursive forms are capable of conveying the effect of uncanniness, what I am interested in here is why it manifests historically via illustration in particular. I will divide my investigation into three propositions: first, that the Uncanny’s essential ambivalence is achieved as a literary event; second, following Ernst Jentsch and Masahiro Mori, that a key site of the Uncanny effect is actually within the material physical object and its potential for movement; and finally, following E.T.A. Hoffman, that complex textual scenarios and frameworks of storytelling comprise the locus for the philosophical theorisation of The Uncanny. The word “uncanny” is used in many contexts of the everyday. But this chapter will argue that a critical perspective on storytelling is the best mode for showing how the Uncanny effect is a phenomenon of language—and its theoretical consideration is really a consideration of larger philosophical questions about our relation to language as subjects, and as objects. \ud \ud Key words: Uncanny; automaton; The Sandman; Coraline; Jentsch: Freud; ETA Hoffmann

This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of co-present and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

Recent developments in virtual and augmented reality technology have stimulated renewed interest in the role of sound and music in these domains. In this article loudspeakers, and the spaces used to listen to them, will be discussed with reference both to the dominant media that have influenced their evolution and in light of emerging media—particularly in augmented reality—which value very different audio-spatial relationships.

The status of writing in art practice and art-research has changed significantly in recent years. While new categories of ‘Art Writing’ and ‘Conceptual Writing’ come some way towards charting the evolving terrain, much current discourse fails to appreciate how the diverse textual practices found in current art and certain traditions of philosophy and literature imply a new interrogation of the image. Such work might be named ‘Diagrammatics’. The term is derived from the writing of Gilles Deleuze & Felix Guattari and elaborated through a reading of John Mullarkey’s Post-Continental Philosophy (2006). There are many histories of material-textual practice, many traditions of creative work in which words are used against conventions of reading and communication. Artists and art-researchers are well placed to show how the strands of these practices can be brought together as a new, extra-disciplinary work.

'What does it mean to you, to address God as Mother?’\ud The question was put to me by a friend, a Haitian New Yorker called Delcarmise Napoleon. From it unspooled a series of nine letters, shared during the summer of 2016 with The Way of the Rose, an inter-religious fellowship gathered around the practice of praying the rosary. This group’s inclusive, eco-feminist slant on prayer and community has room for fidgets like myself, meanderers who might have to put ‘None of the above, but something’ in the religion question on the census.\ud Those letters were the starting point for this, the first in a series of Gyrovague meditations, inspired by the gyrovagi: the leaderless, wandering monks of the Early Middle Ages, repeatedly denounced for their vagrant restlessness by the representatives of the organised church.

This essay interrogates Anish Kapoor's public sculpture made in the summer of 2015 for the gardens at Versailles, which he titled,*Dirty Corner.* This abstract sculpture represented the open vagina of Marie Antoinette. Perhaps Kapoor thought he was challenging patriarchal hegemony in its consciously radical presentation. Shortly after the sculpture was completed, a vandal sprayed yellow paint across it. Kapoor cleaned the paint off, but it was then vandalised even more violently a second time. This time, there were extensive words carefully written all over the sculpture-- the words placed strategically on the inner walls of the sculpture to convey a sense of rape. These words were Royalist, Anti-semitic and misogynist in sentiment. This particular conjunction is disturbin, and provokes critical reading in terms of the context of the discursivity of contemporary misogyny.

There are rumours that writing will cease, books will die, the digital eye will take over. Standing at the edge of this precipice we look away from these preoccupations. Instead we look back, investigating the act of writing through systematic consideration, attempting to disregard all preconceptions. This exposition focuses on the gestural and uses Vilém Flusser’s concept of ‘pseudo writing’, to analyse the interaction between the physical actions and the technologies of writing. \ud \ud The first act of Various Writings’ was a response to Vilém Flusser’s text The Gesture of Writing. This text radicalised our ideas on what constitutes research and thematised the conditions of sharing in ‘other’ terms. Flusser meticulously disassembles the act of writing. We follow in his footsteps, using personal mythologies, Oulipian constraints / translations, taxonomies and non-verbal conversations as implements to excavate relics of writing. We collect codes, tools, surfaces; test writing against various technologies and translate it into movements, attitudes and objects.

A sequence of seven poetry and prose pieces, excerpted from a forthcoming illustrated poetry pamphlet: The Black Madonna's Song (Atlantic Press, April 2020)

The fields of neural prosthetic technologies and Brain-Computer Interfaces (BCIs) have witnessed in the past 15 years an unprecedented development, bringing together theories and methods from different scientific fields, digital media, and the arts. More in particular, artists have been amongst the pioneers of the design of relevant applications since their emergence in the 1960s, pushing the boundaries of applications in real-life contexts. With the new research, advancements, and since 2007, the new low-cost commercial-grade wireless devices, there is a new increasing number of computer games, interactive installations, and performances that involve the use of these interfaces, combining scientific, and creative methodologies. The vast majority of these works use the brain-activity of a single participant. However, earlier, as well as recent examples, involve the simultaneous interaction of more than one participants or performers with the use of Electroencephalography (EEG)-based multi-brain BCIs. In this frame, we discuss and evaluate "Enheduanna-A Manifesto of Falling," a live brain-computer cinema performance that enables for the first time the simultaneous real-time multi-brain interaction of more than two participants, including a performer and members of the audience, using a passive EEG-based BCI system in the context of a mixed-media performance. The performance was realised as a neuroscientific study conducted in a real-life setting. The raw EEG data of seven participants, one performer and two different members of the audience for each performance, were simultaneously recorded during three live events. The results reveal that the majority of the participants were able to successfully identify whether their brain-activity was interacting with the live video projections or not. A correlation has been found between their answers to the questionnaires, the elements of the performance that they identified as most special, and the audience's indicators of attention and emotional engagement. Also, the results obtained from the performer's data analysis are consistent with the recall of working Zioga et al. Live Brain-Computer Cinema Performance Evaluation memory representations and the increase of cognitive load. Thus, these results prove the efficiency of the interaction design, as well as the importance of the directing strategy, dramaturgy and narrative structure on the audience's perception, cognitive state, and engagement.

Relations between perceiving and knowing are well-worn problems that become visceral encounters with doubt and ambiguity in ‘mixed-reality’ environments. Locative narrative situates participants within stories where existent places function as the setting. Experiential confusion, between what is talked of as real and as imagined, is an often-reported phenomenon. Classical pragmatisms, and more broadly the writings of William James, understand the functioning of the body to be for the production of action, from which flows a naturalistic epistemology. for James, a thought’s reference to an object occurs in the medium of an ‘experienceable environment’ and is a condition of it being known; what something is known-as is how it functions in a particular context and the consequences that follow. Contemporary pragmatists express varying positions on the function of representation in perception at different levels of cognitive awareness, and the extent to which intentionality is derivative of linguistic norms. In the locative narrative iOS application The Lost Index No.1 – Landscape with Figures strategies of directing participant attention, movement, cognitive tasks and propositional content are used to guide the interpretation of events. The complex environment that is created plays with the multi-stability of perception and the ‘multi-stability meaning’ between terms, resulting in ambiguity and an enhanced flexibility of interpretation.

The essay pursues a philosophical inquiry into darkness, looking particularly at images of the dark and how they appear in literature and art. A passage from Virginia Woolf’s To The Lighthouse (1927) is considered for the way that the author explores questions of subjectivity on the basis of a certain vagueness inherent in darkness as metaphor. Fictional form is used to assemble different kinds of discourse including memoir and criticism, so that the process of writing allows the emergence of thought in a way that contributes to philosophical work while resisting the narrow aspirations of a discipline. Thus the essay proposes and explores the values of cross-disciplinary work.

This research paper explores the role that Children’s picture books and narratives can play in the teaching of Philosophical thinking and critical enquiry to young children and focuses mainly on the work of authors Roald Dahl and Dr Seuss. Philosophy for Children (P4C) was first introduced in the 1970’s by Philosopher and Educator Matthew Lipman and continues to be taught today, at Primary level as well as secondary, although it is perceived to be controversial by some \ud educators , religious establishments and parents. Examples are provided of researchers and writers who, through their analysis of Picture books, have uncovered rich and deep themes embedded within that resonate with the theories of key Philosophers throughout history, including Socrates, Kant and Heidegger.

The paper outlines the development of an aesthetic taxonomy-of-holes in devoré-lace [burnout-lace] through an intimate conversation between the practice of devoré-making and an appropriation of Deleuze and Guattari’s ideas as articulated in ‘A Thousand Plateaus’1. It presents a brief aesthetic history of devoré which reveals its use in haute couture being predominantly based upon devoré-velvet. The paper then presents a taxonomy-of-holes referencing holes not as absences but rather a complex haptic and optical heterogeneity in a homogeneous textile surface. This taxonomy supports a vision of a fuller potential for devoré-lace as a fashion design fabric. It argues the case for a more considered understanding of the fabric so that it may find a utility outside its visual cliché predicated upon its alluring and translucent qualities.

Central to any graphic design education is the teaching of a design (or creative) process as an aid to problem-solving. This study draws upon experimental workshops within design education, together with current thinking from the broader arts, emotional psychology and the brain sciences, to explore the idea of repositioning process as the ‘main event’ – rather than it being a means-to-an-end. The study sought to frame learning experiences that enabled students to consciously become the object of their own study; including themes that explored ‘personal identity’, ‘dualism’, ‘mind-wandering’ and ‘habit’ as mechanisms to enhance our creative capacity, and evidenced significant improvements in the students’ confidence, dexterity and working methodologies (including the elusive ‘risk’ and ‘play’). The emerging conclusions propose key anchors (‘dissociative creativity’, ‘process as the main event’, ‘collaboration’ and ‘immersion’) that we believe ought to be central to the development of any new teaching (esp. within graphic design).\ud \ud Keywords: Design, Education, Process, Creativity, Risk\ud \ud Full paper. Delivered 31 May 2017. Page 81–95 of attached document.

This thesis is about expanded narrative, a new field of experimental narrative practices that are not represented by single subjects or by categories such as ‘interactive’. It is defined by works that present a challenge to the form, fiction or nonfiction, in terms of the content, structure, style of writing or audience engagement. Extending the cognitive term ‘perceptual multistability’, that refers to switching between interpretations experienced when we look at an ambiguous figures, such as the Necker cube, this thesis develops the position that expanded narrative practices and specifically locative narrative, a genera of expanded narrative, hold the potential to prompt the experiential effects of multi-stability. The metaphor of multi-stability, introduced here, stands in for three aspects of experience: language, perception and belief. While ambiguity and misperceptions have been recognized in the literature of experiential narrative practices, further exposition is required. The thesis asks what are the conditions in which the qualities of the metaphor of multi-stability may be prompted and what framework usefully articulates the parameters of experience? Drawing upon the writings of the philosopher William James, subsequent pragmatists, cognitive neuroscience and narratology, it explores how a radical empiricist perspective can inform a non-foundational experiential framework that questions the status of knowledge and the problems of translation between experience and narrative interpretation. It suggests that the subjective classification of imagined and perceptual objects can be affected by the relations between the narrative form, the environment and the participant’s beliefs. The major contributions of the thesis are: (1) the development of the Jamesian experiential framework that sets up cross-disciplinary parameters for the thematics of experience to engage with the ontological and epistemological challenges of evaluating and designing for multistability; (2) a relational approach to the interpretation and coding of participants’ feedback of locative narratives; (3) that is employed in the development of a collection of speculative strategies for evoking the effects of multi-stability, based on the development of four published locative narrative apps and ten prototypes. While highly contingent, participant introspective accounts of experience are central to the methodology here: the process of serial hypothesis forming and the iterative development of prototypes and locative narrative case studies. This research does not attempt to draw causal connections from science to that of narrative experience or vice versa. The thesis first considers the field of expanded narrative and the semantic and pragmatic framings of the term narrative and narratological framings of language as multi-stable. It goes on to examine the antecedent and coexistent practices of locative narrative. The epistemological implications for misperception, the function of representation and intentionality in perception, are examined in relation to the environmentally situated perceptual, interpretative, aesthetic and emotional dimensions of experience. This research contributes to research in narrative and creative practices. It extends the form of locative narrative with the concept of multi-stability that has a wider application with the field of expanded narrative, creative practice and narratology.

This paper addresses the potential for an embodied ethics of touch in the context of cross-generational dance work, in particular through the philosophy of Emmanuel Levinas. Focusing on choreographic processes and performances involving parents and children I examine the relationships that are re-orientated through the shifting mode of being that is dancing together. This is in part an auto-ethnographic enquiry as I reflect on my own experiences as a new mother dancing with my daughter in Baby Jam and relating to her in life. Proximity is used as a way to frame the auto-ethnographic lens and to discuss ethics as a way of relating. \ud \ud This paper suggests an ambiguous definition of ‘contact’; conceiving of it as a mode of communicating as well as a dance practice - what Erin Manning refers to as a ‘reaching towards’ (2009,14). The paper questions how contact might be defined without the use of touch through including the potential of touch as well as its actualisation. Using Manning’s notion of relational movement, this paper refers to the ‘about-to-be’ moment in contact – and the ethical relationships that this engenders. \ud \ud Using three case studies as examples, this paper cross-references my own practice of a cross-generational duet project, my experiences as a new mother and the work of Giulio D’Anna and his recent piece choreographed with his father ‘Parkin’Son’. It discusses the ontological implications of contact across generations as a way of being-together, reaching towards an ethics of touch rather than fixing its meaning.

It can be challenging to support and motivate programming students in introductory contexts. Although computing education in secondary schools now receives more attention, due to advocacy and revised curricula, there is still considerable variance in the programming ability of new undergraduate students. Many have little to no prior experience. As a result, university teaching staff are required to apply pedagogies that are elastic. However, elastic pedagogies, such as soft-scaffolding, are non-trivial to implement in large classes. This means that it is difficult to provide enough challenge to maintain some students’ interest while also being accessible enough to avoid intimidating others, and even more so when diagnosing student setbacks and implementing targeted interventions. To this end, the authors explore practical approaches to diagnosis and intervention in large introductory programming classes. Firstly, using robot challenges and games, such as Lego Mindstorms, SpaceChem and Blockly, as a proxy measures for computational thinking. Secondly, using psychometric instruments on SoScience to evaluate key variables such as: self-concept; mindset; and anxiety; as well as learning style. Thirdly, using Socrative to apply peer instruction methods to identify key areas of difficulty, such as assignment, as early as possible. Such data can be used to diagnose key issues and better inform teaching assistants on in-lab support, the design of peer-review activities, as well as CPD (continuing personal development) activities in small-group tutorials. While the validity and reliability of these approaches remains under investigation by the authors, initial student and staff feedback suggests the approaches are useful.

It is well documented that there is a gender gap in STEM subjects such as computer science. Declining numbers of female graduates has serious implications for representation in the workforce and consequently the design of technology products. A vast amount of research explores the reasons behind the gap. Some of the reported difficulties include low confidence levels and distorted perception of performances. It is important to recognise that female students can be disproportionately affected by such issues and, while teaching practice should be inclusive, pedagogies should be designed accordingly. The particular challenge associated with low confidence and distorted perception can be explored through the lens of control and value appraisals. Students make self-efficacy attributions in may ways, and sometimes do not make positive appraisals after otherwise positive programming experiences. This has implications on key variables that influence programming anxiety, practice behaviour, and subsequent achievement. However, there are strategies can make students consciously aware of their cognitive behaviour and help them to make constructive appraisals. To this end, the authors explore practices that influence appraisals, leading to changes in self-perceptions and confidence levels in ways that typically lead to improvements in programming achievement, such as: personal robots; media computation; psychological scaffolding; and the “trio of best practice” consisting of contextualisation, peer instruction, and pair programming.

As a counterpoint to the Western notion of the Sublime, which represents Nature as a force that we, as humans, face only to be overwhelmed by its encompassing Oneness, the films produced by Studio Ghibli signify nature as a friendly neighbor. This Japanese relationality between nature and the human is illustrated lushly and with virtuosity in films such as *My Neighbor Totoro*, tapping into a rich and long-established system of aesthetics regarding landscape that is decidedly different from that put forth by Western metaphysical philosophy. Thematizing the interactive relation between nature and human beings can also be comprehended on a semiotic level in the sense that meaning takes place in the relationality itself between signifiers within any given system. This paper will explore the proposition that Studio Ghibli films foreground, through narrative techniques, a larger, more abstract philosophical investigation into relationality itself, whereas the Western Sublime seems to actively resist signification. The relationality put forth by Studio Ghibli films, characterized as “neighborliness,” offers an alternative model of human existence in relation to nature to that of Western philosophical assumptions.

The history of heavy metal is problematic on multiple levels; from its naming, ancestry and originators to its subsequent stylistic revivals, fractures and ‘new’ waves. This chapter approaches the genre’s history, and fans, academics, journalists and musicians active involvement with it, not as a linear unfolding family tree, but as a complex multi-layered palimpsest that allows erasure, inscription and re-inscription of styles and influences. By exploring the genre’s narrative as a bottomless writing over writing, with no agreed point of origin, a model of retro-progressive and bohemian nostalgic practice can be suggested. This engagement allows for different, contradictory and chronologically disparate points of return – be they musical, historical, filmic or cultural. For the heavy metal community of fans, writers and musicians, exploration and revival of these historical touch points allows for authentic growth in the genre and subgenres. The chapter utilizes Foucault’s ideas of genealogy to investigate this historical activity and the cultural memory of heavy metal in contrast to traditional narratives. These approaches are further explored through the engagement and re-engagement with the occult boom in the late nineteen sixties and early nineteen seventies and cases of their appearance in more contemporary heavy metal outputs.

An interview with author, editor, academic and philosopher H.L. Hix discussing such topics as philosophy and poetry, interdisciplinary engagement, pedagogy, writing processes and rules, humane teaching, neoliberalism, human capital, mediation, collage, remix, appropriation, curating, dialogue, and writing practice.H.L. Hix is Professor in the Philosophy Department and the Creative Writing Program at the University of Wyoming. His 25+ books include works of philosophy (studies of ‘the death of the author’ and postmodernism), practical criticism (monographs on writers William Gass and W.S. Merwin), translation (such as his collaborative translation, with Juri Talvet, of the poems of the Estonian peasant poet Juhan Liiv), anthologies (such as the recent Ley Lines), essays on poetry (including Lines of Inquiry), and poetry (including a ‘selected poems’, First Fire, Then Birds). His Chromatic was a finalist for the 2006 National Book Award in Poetry. He has received a fellowship from the National Endowment for...

Essay from a collection of essays that emerged from a transdisciplinary arts project curated by London Fieldworks and Resonance FM, in response to a question around what is contemporary remoteness from the curator Dr. Tracey Warr.

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with contemporary cultural relevance. That David Bowie has influenced many lives is undeniable to his fans. He requisitions and challenges his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be 'us' and why we are here.\ud \ud Enchanting David Bowie explores David Bowie as an anti-temporal figure and argues that we need to understand him across the many media platforms and art spaces he intersects with including theatre, film, television, the web, exhibition, installation, music, lyrics, video, and fashion. This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.

Via Chris Marker & Alain Resnais' works vis-à-vis creative untimeliness (Nietzsche), Untimely Affects assesses limits and potentials of film, thought, self. \ud \ud UNTIMELY AFFECTS examines the role of affect in works by Marker and Resnais whose film and multimedia works respond to events of violence and war, including the Holocaust, Hiroshima, postcolonialism and 9/11. The book contemplates a reflexive relation between perceiver-perceived – film, screen, camera, viewer, filmmaker. Through close readings, consciousnesses of various reflective screens and surfaces are interrogated so that the faces of television sets, billboards, the eyes of all the worlds a traveller confronts, engender a movement and consciousness of pure duration itself.\ud \ud REVIEWS \ud "Boljkovac makes saliently clear the powerful force of attraction that brings Marker, Resnais and Deleuze into each other's orbits. Readers will welcome close, sustained, and ever-rewarding readings of cinema, history, and philosophy on each and every page." \ud --Tom Conley, Harvard University \ud \ud "The philosophical ideas that inspire Boljkovac are extreme: happiness, love and madness at one end; pain, suffering and misery at the other. Cinema is her vehicle into a hope-filled future. Through its encounters with key films and texts by Marker, Resnais and others, Untimely Affects is important and inspiring." \ud --Adrian Martin, Monash University \ud \ud "In a sensitive reading of Deleuze and through a moving appreciation of the works of Resnais and Marker, Nadine Boljkovac opens an urgent path for film and philosophy, where they answer the demand to respond ethically to the terrible events that continue to haunt our worlds." \ud --James Williams, University of Dundee

Kurt Cobain and Ian Curtis. Their early and unexpected deaths propelled them to iconic status as beacons for the values of individuality and authenticity. However, with each passing year, the images of the lead men become farther removed from their original humanity. From Converse to cake, this book examines how their 'brands' lend credibility to commerce, while the increasing worth placed on the singers provides a modern example of a secular belief system propelled by media, technology and the value of immediacy in the 2.0 world. Journeys to spaces and places associated with the two singers are akin to pilgrimages, sacred trips that hope to capture and connect with the very essences that the men have been stripped of in their ever-widening appeal. Within this context, Curtis and Cobain become guides and anglicised role models in the search for personal identity and community in the modern, uncertain world.

In this unique collection, theologians born and formed during the Cold War offer their insights and perspectives on theological relationships with such musical artists and groups as Joy Division, U2, Nick Cave, and John Coltrane. These essays demonstrate that one's personal music preferences can inform and influence professional interests.

Why do mothers fail to breastfeed their babies?\ud \ud The majority of mothers know breastfeeding gives their baby the best start in life: improved health, superior intelligence, and closer emotional attachment are just a few of the crucial benefits. Yet a mere 17% of mothers are still breastfeeding when their babies are three months old. Why?\ud \ud There are plenty of books out there that offer excuses. Tiredness, sore nipples, low milk supply, breasts too big, breasts too small, excess marketing by artificial milk companies… the list goes on. This is the first book to look for answers in the mothers themselves.\ud \ud Controversial author and The Alpha Parent blogger Allison Dixley argues mothers fail to breastfeed because women undermine each other, using a toxic mix of deception, guilt, excuses, envy, contempt, defensiveness and sabotage. Drawing on academic research in psychology, biology, philosophy and anthropology, she sheds light on the hidden emotions of early motherhood, and reveals the deep and widespread damage artificial feeding can have on a mother’s confidence in her body, her mothering and in other women.\ud \ud Heart-wrenching, polemic and ultimately a call to action, this is a book that will make you angry, but a book that will make you think.

Psychophysiological measurement has the potential to play an important role in audience research. Currently, such research is still in its infancy and it usually involves collecting data in the laboratory, where during each experimental session one individual watches a video recording of a performance. We extend the experimental paradigm by simultaneously measuring Galvanic Skin Response (GSR) of a group of participants during a live performance. GSR data were synchronized with video footage of performers and audience. In conjunction with questionnaire data, this enabled us to identify a strongly correlated main group of participants, describe the nature of their theatre experience and map out a minute-by-minute unfolding of the performance in terms of psycho-physiological engagement. The benefits of our approach are twofold. It provides us a robust and accurate mechanism for assessing a performance. Moreover, our infrastructure can enable, in the future, real-time feedback from remote audiences for online performances. We are currently scaling up the system allowing for simultaneous GSR measurement of larger audiences.

Located just over 15 miles outside of the English hub of Manchester, Macclesfield was the home of the late singer and lyricist Ian Curtis, front man for post-punk pioneers Joy Division. The ashes of Curtis are now buried minutes away from where he lived, at the Macclesfield Cemetery and Crematorium.\ud \ud Though it has been over 30 years since he took his life, an estimated 2,000 people annually make their way to the small, quaint Northern town, on a quest to pay homage to Curtis. Traveling from as far-flung destinations as Japan, Texas and Australia, fans embark on sonic pilgrimages to walk the streets that inspired Curtis, see the house where he once inhabited- and pay their respects at Curtis’s Memorial Stone.\ud \ud As a part of her PhD research, photographer Jennifer Otter captured images of the fans, flowers and fauna every month over the course of a year at the Curtis 'kerb.' Joy Devotion: A Year of Trash, Trinkets and Tributes at the Ian Curtis Memorial Stone documents the ever-changing homages to the singer and provides unique insight into music, community and memory.

The text takes as its starting point a series of concepts and characters that appear in the work of Gilles Deleuze and Félix Guattari, developing a set of characters and a series of narrative trajectories. [From the book's introduction] "Neil Chapman and Ola Stahl ofer us a poetic fiction that dramatisee a number of Deleuzian concepts, 'lived' by their cast of invented conceptual personae. Chapman and Stahl's work brings together art and philosophy, sensation and the concept, in a prgmatic experiment calling forth a new earth, and a new people [. . .] Chapman and Stahl foreground the heterogenesis of the world, and the necessity of actively constructing it. They offer us a schizo-art for a schizo people, a poetic-delirious disjunctive-conjunction: a BLOODCRYSTALPOLLENSTAR' in which our 'and' finally becomes a 'mutating centre'.

Spaces on bookshelves, the mathematical preferences of bees, Hiroshima survivors, time-travelling, Victorian novelists, incomplete gravestone inscriptions; all starting points to be pondered and to inspire, says Lizzie Ridout, in her endless search for beginnings.

The author discusses her research project Transition-Felt, an investigation of the development of locative narratives that informs the app The Letters.

In this piece a fictional narrative is used to explore complications of the common idea of 'observational drawing', the theme of Drawing Forum Conference, 2016. The artist's observation of the world is shown to be a moment in practice that cannot be assumed to come in advance of drawing/inscription, but due to the choreography of the body and the implications of memory, has to be thought differently. To be an observer, the paper concludes, is a part of work that comes later on the basis of an observation that has always already taken place.

Through the index of "happiness," this paper situates Jeremy Bentham's philosophy of language as one of the most significant, and underacknowledged, precursors to deconstructive theories on language today. Through careful tracing, we can see a progression from Bentham's Utilitarian theories on language, into legal positivism, and into and the Oxford school of philosophy of language. I am particularly interested in reading the speech-act theory of J.L. Austin in relation to Bentham's felicific calculus and his Theories of Fiction.

This paper identifies new modes of writing as practice in art-research. It asks how such work can be evaluated and in what ways the new work helps determine the contribution of art-research. The paper considers how we might teach related forms of writing encountered increasingly in studio practice.\ud It is a common experience in research to find work’s stable unfolding confounded. In the particular case considered here, something that appears to be a conclusion arrives at the wrong moment, too early. In one sense this event of research practice is trivial in its familiarity. But its more significant and less easily graspable quality becomes evident when the untimely finding resists being held in reserve, as might normally be the case, to be added rhetorically at the end; instead it insists on being exposed at the moment it appears in the working process, thus affecting the ordered development of research in a peculiar way such that research is made to differ from itself. \ud Perhaps in the majority of cases, art-research progresses with the use of preconceived methodologies reproduced with minimal self-reflexivity. This paper identifies a different, strategic engagement with such reproduction, which, it is proposed, gives art-research a new and important determination. In this sense the paper engages with the conference theme of ‘mimesis’. \ud An example is found in the work of Georges Perec—whose writing is useful in discussions of art-research due to its ambivalence towards literary discipline. In his novel Life A User’s Manual (1978) an unexpected and strategic mimesis comes to break the ordered temporality of the writer’s work, introducing an event or ‘crisis’ with significant consequences. When measured alongside others from art-research, this case begins to expose a kind of research writing with extra-disciplinary relevance, pointing to an as-yet unthought future for art.

4 week Artist Research Residency at Videotage \ud To Kwa Wan, Hong Kong\ud \ud Videotage is a leading non-profit organisation in facilitating, promoting and presenting new media art in Hong Kong. Since 1986, Videotage has developed itself from an umbrella for media artists to a media art and culture network for cross-disciplinary cultural productions and international exchange of ideas and knowledge.\ud \ud \ud Because ‘low theory never needs to dispense with high theory, it merely takes up a different relation to it’.\ud - ‘The Queer Art of Failure’ Jack Halberstam\ud \ud DIRT TIME: 9.Theorem 7.Debacle is a collage-video work, emerging from a two-week residency undertaken by Gillian Wylde at Videotage. As a ‘copy in motion’ the video embraces the out of focus and the ineffectual. As Hito Steyerl notes in her essay ‘In Defence of the Poor Image’;\ud \ud ‘The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution”.\ud \ud Throughout the residency Gillian Wylde has explored assemblage and copy culture as an expanded critical and aesthetic tactic. These tactics create a ‘reverse discourse’ or queering that attempt to unhinge ‘normative’ structures, powers of language or immutable historiographies. The video work developed during the residency assimilates mongrel foraging activities of appropriation from a variety of found and selected material including work from the archive; VMAC (Videotage Media Art Collection).\ud \ud http://videotage.ic.hk/project/dirt-time-9-theorem-7-debacle/

The film, “Dialogues of Disorder” is a collaboration between Dr. Thomas Baugh, artist researcher Karen Abadie and Livewell South West, NHS, Plymouth. This is a socially engaged artwork, working directly with sufferers of obsessive compulsive disorder [OCD] and self-injury [SI], which when screened, together with a paper, aims to unveil and support practical development of a new and different way of understanding both disorders, using filmic projection to do so. This project is set against a backdrop, which aims to help individuals understand their mental health experiences and enables them to make changes or accept how they are, by adopting the hypothesis that it is better to see ourselves as people with particular individual and shared human attributes, with strengths and weaknesses. The filmic projection “Dialogues of Disorder” and accompanying paper will explore how the narrative provided by two protagonists, can act as a mechanism to visualize the characteristics, which underpin both disorders, by interrogating the complicated and irregular strands of conscious behavior that affect OCD and SI. The screening will achieve this by reviewing experiences of dissociation and, how the embodied mind is affected, and shaped by internal and external perceptions, and in doing so, it aims to reveal detailed insight into how the protagonists consider their dispositions connected to both private and public spheres. The film will endeavour to provide new perspectives on how these disorders can be treated by health care professionals, by offering an audience a space to interpret these lived experiences using filmic techniques associated with projection, and narrative.

The Animal Gaze Constructed (2020) - a conference on contemporary art, architecture and animal-human studies to take place 6-7 March 2020 at the university's Sir John Cass School of Art, Architecture & Design in Aldgate, London (UK).\ud Performative presentation and text delivered at conference.\ud Video work included in the exhibition.\ud Publication forthcoming currently delayed by C-19.\ud \ud http://www.animalgaze.org

‘What the student […] should be taught is as much of our whole culture as we are capable of synthesizing. Synthesizing, not specializing. To make a film for today’s world, we should strive to comprehend as much as possible of the human accomplishment in these last twenty thousand years […] instead of seminars on Howard Hawks or Orson Welles or anybody else’ (Welles and Bogdanovich, 1992: 258).\ud \ud The extent to which the teaching of film, predominantly film production, reflects the philosophy and practical realities of filmmaking and filmmakers is debatable, and has been since the earliest days of film education. Much of what is commonly understood as film education has developed and become ingrained separate from filmmaking practice - through industrial and academic prioritising and decision-making. What would a film education look like that took as its starting point the experiences and beliefs of filmmakers? Through an analysis of new and archive interviews with filmmakers, academics and industry figures this paper discusses whether or not dominant approaches to film practice education adequately serve the film industry, film culture and film students and explores alternative approaches. The idea that film education should not be solely based on the study of film is one important theme. \ud \ud This paper seeks to suggest future strategies for film education at a time when film production, distribution and consumption have undergone major technological evolution, the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting and the identity of the university as a place of skills training and/or critical development is under scrutiny. This paper proposes resistance, diversification and a new philosophical approach to film education.

The purpose of my research is to investigate the relationship between crisis of meaning and crisis of form in art production, fruition and critique. This investigation is grounded on notions present in historic and contemporary nihilism, materialism and existentialism that state that a crisis inevitably occurs, through enlightenment, in the relationship between self-image and realist and scientific principles. \ud \ud I want to extract the word crisis from vagueness and pathology, and argue that it can serve to describe a hidden trinity at the centre of art – there is a crisis of meaning, a crisis of form, and a crisis in the relation between meaning and form, each time a new work is set forth.\ud \ud My understanding of nihilism attempts an extraction from ethics, and puts nihilism against previous roles given to it. The philosophical approach present in nihilism has been used either as a byword for the enemy of reason, or as a dark background against which affirmation (Nietzsche), creative evolution (Bergson), or existentialism (Sartre) can shine. It is my purpose to explore the notion of crisis of meaning as the essence of nihilism (Ray Brassier), and overview its active ramifications in art.\ud The field of form can be seen as immanently enacting a split between project and world (Bataille) – a split that runs parallel to crisis of meaning in philosophy. It is central to my research to investigate the locus of this crisis, in its relation to contextual crises, be it personal (psychosis), political (revolution), social, and crisis in the very set of criteria brought about in each instance of art.\ud \ud The written element will consist of ten short chapters with as many incursions into particular instances where the notion of crisis of meaning is set to bring new clarity to pre-existing fields, from critical terrains to specific media and art history.\ud \ud The practical element will deal with notions of crisis of meaning and form, as well as with personal crisis, and will take the form of narratives about extreme states of being and the ends of narrative (comic books).

accepted for performed presentation to be be delivered at the Society of Artistic Research's 8th International Conference on Artistic Research. To be held at the University of the Arts Helsinki, Finland in April 2017. The presentation will form a three-way 'trialogue' between the collaborators (Christoforidou, Ridout, Star) on their collaborative research into understanding the act of writing.