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Andrew McMillan

A short creative piece which meditates on the notion of randomised and transient violence within heavily populated urban centres. Violence in a small town or village might be noticed more and talked about for weeks; violence in a big city – in this case Manchester – flares up and then disappears in the blink of an eye. How does the city hold itself together through these convulsions?

in Manchester
Philip Lawton

in favour of an authentic way of life within rejuvenated historic urban areas with various amenities, such as independently owned food stores, cafés and bars, all focused upon the tastes of the new urban middle class. 104 Rethinking the liveable city post boom-time In recent years, the urban village has received a further boost through the emergence of the creative city (Landry, 2000) and the creative class (Florida, 2002) as focal points of policy formation. For Florida, the attraction and retention of creative people is the key driver of the urban economy

in Spacing Ireland
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Ireland’s ‘ABC of earth wonders’
Derek Gladwin and Christine Cusick

Robinson’s work influenced the field of Irish Studies in the last forty years? In order to answer this question we feel Robinson’s important works must be considered in a critical and creative volume of this scope and depth, through an array of writers and disciplines and across several countries. Many people within and outside of Ireland still have yet to recognise the significance of Robinson’s work and the impact it has had, and continues to have, in the development and understanding of what is often considered a vitally important cultural and geographical part of

in Unfolding Irish landscapes
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Martin Dodge

, and point up the contrast between the sterile corporate feel of the Arndale and the more creative and quirky ambiance of the Northern Quarter area lying just beyond its Withy Grove boundary. Yet the Manchester Arndale remains full, with big-name retail brands and busy with shoppers of all ages. 68 19  Fire Window, Manchester Cathedral, designed by Margaret Traherne and installed in 1966

in Manchester
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Morag Rose

in the Mancunian rain. Our city is wonderful and made for more than shopping. The streets belong to everyone and we want to reclaim them for play and revolutionary fun.’ On the first Sunday of every month we embark on some form of exploration or creative mischief. Events are free and open to everyone – readers are very welcome to join us. 3 It’s material too, of course. As well as harassment, architecture and design can limit our freedom to walk in space too. There are issues around tactile paving, potholes, lack of public toilets, privatisation of space etc

in Manchester
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Jenna C. Ashton

process of writing about their bodies in archiving something as seemingly insignificant as a story about hair. Hair – 51 per cent carbon, 21 per cent oxygen, 17 per cent nitrogen, 6 per cent hydrogen, and 5 per cent sulphur – is a repository of stories that are continuing to unfold. That cultural 158 Relics heritage women and girls carry with them, in their everyday spaces, experiences, expectations, creative practices, discussions, gossip, relationships and thoughts. Alice’s curl and her mother’s plait, alongside the hair-stories of other women, offer us a different

in Manchester
Trevor Barnes

their fruits … and not by their roots”. For Rorty and other pragmatists, there is no special method for producing knowledge, for achieving practical ends – no set of foolproof rules to follow. That kind of thinking is found only within epistemology. Under pragmatism, the best we can do, the only thing we can do, is to “cast about for a vocabulary that will help” ( Rorty, 1979 , 321): that is, to experiment by using novel and creative forms of language, including narrative, metaphor and irony, along with other tropes and techniques to re-describe the world. By

in The power of pragmatism
The deep mapping projects of Tim Robinson’s art and writings, 1969–72
Nessa Cronin

of such a perspective, and which also marked, conversely, a view from nowhere. He remarked that the title therefore ‘hinted at my unease as to whether any of this work would do at all’.8 In revisiting the ‘resurrected’ artworks from the late 1960s and early 1970s, a ‘network of imagery’ become more obvious with images of ‘gravity and rainbows, of compass roses and cardinal positions, of the birth of the universe and the moment of vision’ dominating his creative imagination and persona.9 The problem for Robinson was that he initially thought such images had

in Unfolding Irish landscapes
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Postcolonialism and ecology in the work of Tim Robinson
Eóin Flannery

vision. The field of Irish cultural studies has yet to exploit fully the critical and analytical resources of ecological criticism. Indeed very little sustained and enabling historical or critical writing has emanated from the field that might productively contribute to international conversations on the political and cultural implications of global environmental change.There have always been creative and critical engagements with the Irish landscape – a trend partly occasioned by the country’s protracted history of colonialism (a prime concern of ecological criticism

in Unfolding Irish landscapes
Stavros Stavrides

Zapatista communities because new forms of social organization and government are being tried out. This is a process that sustains a new way of practicing politics aimed at emancipatory changes. Such politics draws from the existing creative forces that give “those below” the power to survive despite dominant neoliberal policies of discrimi- Territorialities of emancipation 53 nation and “expulsion” (Sassen 2014). “[T]he Zapatistas propose that the politics of changing worlds requires the harnessing of the structures of value and social relations that are present

in Common spaces of urban emancipation