Search results

You are looking at 101 - 110 of 5,604 items for :

  • Refine by access: All content x
Clear All
Tom Woodin

work that arose from workshops bore the marks of a more literary approach than other texts published by Fed groups, which might have involved an editorial group working with a single writer. In writing workshops, complex, onerous and prolonged feedback on multiple drafts ensured this was the case. Liz Thompson’s Just a Cotchell: Tales from a Dockland’s Childhood and Beyond has many of the hallmarks of a novel. Thompson developed her book through involvement with Basement Writers, which provided a launch pad into a creative exploration of her past. She developed a

in Working-class writing and publishing in the late twentieth century
Melissa Febos

repeating: the resistance to memoirs about trauma is always in part—and often nothing but—a resistance to movements for social justice. I am lucky that my faith in my creative instincts—facilitated by the many forms of support and privilege that I’d enjoyed my whole life—was behind my own selfdoubt and shame, and ultimately stronger than the internalized voices that warned me off writing memoir. It quickly became apparent to me that embodied writing is not in opposition to political writing. In fact, it is the

in Body Work
Open Access (free)
The right to imagine Mapuche Pop

not realise her dream. However, this did not limit her creative expression. Throughout her eighty-seven years of life, in countless notebooks, many of which are now lost, her ideas about the world surrounding her were recorded in the form of poems and song lyrics she composed with a guitar. Many years later, having raised four children, my grandparents, along with part of the family, moved to the Metropolitan Region, settling in the municipality of San Bernardo. I was born in the 1980s, in the middle

in Performing the jumbled city
Abstract only
Limits of the market and capital
Aleksander Buzgalin
Andrey Kolganov

creative labour; the expansion of unalienated social relations in the field of joint creative activity (free working associations of scholars, of teachers, and of activists in social networks); new phenomenon of wikinomics (Tapscott and Williams 2007 ); and copyleft and other important components of economic life in the epoch of the rise of post-industrial society (the epoch of the scientific-technical revolution). No less interesting is the question of how to assess the socio-economic, humanitarian-economic, and environmental-economic effectiveness of self

in Twenty-first-century capital
Creativity at a time of institutional decline
Jesse Adams Stein

Greiner (elected in 1988) planned to raise revenue from the sale of government MUP_Stein_Printer2.indd 161 10/08/2016 15:39 162 Challenges and creative resilience assets: power stations, coal mines, railway infrastructure and printing offices.7 Workers were not oblivious to these transitions, and, rather than radicalising them, the disappearance of manufacturing often produced in them polarised and individualised responses; they sought merely to survive, not necessarily to overthrow the system.8 The making of foreign orders enabled subtle subversions, rather than

in Hot metal
Dr Jenny Barrett

Art, Culture and Ethics in Black and White: 100 Years of The Birth of a Nation , Liverpool Symposium, International Slavery Museum, Liverpool, 13th November 2015. Depending on which hat he is wearing, Kunle Olulode is a film historian, the director of Voice for Change England, and one of the creative directors of the Anglo-Spanish arts group, ReBop Productions. He works

in D.W. Griffith’s The Birth of a Nation
Abstract only
Don Fairservice

beneath a structuring system that seemed to give motion pictures a self-sustaining, dynamic existence of their own. Sustaining the narrator system Making a detailed assessment of the structural and editing developments in filmmaking during what was perhaps one of the industry’s most creative periods is fraught with difficulty. In 1908 there were ten major film-producing companies in America and numerous

in Film editing: history, theory and practice
Abstract only
Messages, threads and tensions
Kathy Sanford
Darlene E. Clover

_Sandford.indd 175 05/04/2013 09:03 lifelong learning and the arts The wall of rationality, tradition and neoliberalism Shukaitis, Graeber and Biddle once asked why it was that we ‘assume creative and relevant ideas should be coming out of the universities in the first place?’ (2005: 15). They go on to say that modern universities have only existed for a few hundred years and during this time have not really fostered much in terms of new ways of learning and understanding or engaging with the world. Public universities are challenged by current socio-political changes in the

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Abstract only
Precarity in the fashion system
Ilaria Vanni

culture jamming or Situationist détournements, and more recently as a form of urban learning aimed at the elaboration of collective forms of self-organisation.5 The significance of Serpica Naro, however, goes beyond the value of the hoax and creative conflict produced by the intervention in Milan Fashion Week. Instead, leaning on Markussen’s notion of disruptive aesthetics, Julier’s design activism tactics and Fry’s redirective practice, I argue that Serpica Naro was a designerly act that reoriented the politics of precarity embedded in the fashion system.6 In

in Precarious objects
Abstract only
Stephen Orgel

sources of the play’s unique intensity and to the peculiar power it has always exercised over audiences. In “ King Lear and the art of forgetting” I propose that forgetting, or the suppression or subversion of memory, is an essential creative principle. I have in mind both really big creative acts like forgetting that the Lear story has a happy ending, and really small but even more baffling creative

in Spectacular Performances