by specific actors within that network. Musicking both has, and forms part of, a wider social structure.
In an ideal world I would have explored these ideas by reference to a wide variety of musical forms drawn from a diverse range of cultures and historical periods, picking up on the postcolonial stream in contemporary music studies. Such breadth would have come at a cost, however. Musical forms likely to be unfamiliar to a majority of readers require lengthy explanation, thereby eating into word limits (at the expense of analytic content) and rendering
Tony Dundon, Miguel Martinez Lucio, Emma Hughes, Debra Howcroft, Arjan Keizer, and Roger Walden
content that readers may find interesting on FutureLearn. 1
The book is structured as follows. In the remainder of this introductory chapter, we outline three models of power and then define the ‘work and employment studies’ (WES) approach adopted throughout the book. In Chapter 2 we look at shifts to non-standard forms of work, the power of technology along with the importance of context and history, in order to better understand issues of power and politics at work. In Chapter 3 the power of the state and forms of employment regulation are debated. Chapter 4
kind of reading that concentrates on the content, the way it is expressed, how well it flows and so on. This also means rewriting as necessary.
Proof-reading is quite different. It derives from the practicalities of the production of a printed item. Proofs are preliminary printed versions of a book, journal or whatever. Only a few copies are produced in order that authors and editors may spot and correct any mistakes and generally check through everything to be sure it is all properly presented and laid out before it is put into production – hence the term
need to tighten security against terrorists.
The problem with delivering such content is twofold: first, many or even most voters would find it hard to understand such complex issues – after all, skilled economists cannot agree on what would be the nation’s best economic policies; and second, most voters prefer entertainment – sport, drama, soaps – to dry current affairs programmes.
How useful are different media in meeting this democratic purpose?
It all depends on the medium and who it is aimed at. Table 15.3 summarises the ‘democrativeness’ of the main
in English politics and history that frame the dilemma of the UK’s membership of the European Union. This historic imperative in English nationalism created a sense of nationhood that was broader than England alone and was constituted through engagement with other peoples across the world, notably the English-speaking peoples. This was a major component of the wider categories of belonging that informed understandings of an English nationhood that was still inflected towards former ‘white’ dominions and the United States. This merged the content of English
An approach to remembering and documenting everyday experiences
content as well as interpretations. A set of techniques is developed in this chapter to make this happen, in writing as well as in analysis. Focusing on the social aspects of a story does not only imply a possibility to connect different analytical levels (micro and macro) and verify concepts and theories. It also allows us to question or specify fixed or simplified categories and concepts by making other memories, experiences and understandings visible. As such it is an approach that stimulates creativity and knowledge production in research (also see Slater, this
This chapter finds support for a cultural politics of nonhierarchies,
networks and flows in writings that follow from early anarchist and social
ecology contributions and in more general works on green political thought.
The chapter calls attention to the resurgence of nonhierarchical political
formations from various perspectives and how they have shaped artistic
practices and art historical methodologies. What ends up foregrounded are
the transversal, interlinked and mutually influencing parts of our social
body. Drawing on some of the content in Part I and the Conclusion, this
chapter analyses these approaches methodologically and speculates on how the
discipline of art history might productively continue to adopt scholarly
rich, egalitarian political positions, and inform a fully ‘green’ political
– toward which we adopt a very lenient attitude regarding the truth of their fictional content – are given little (to no) leniency regarding the truth of their fictional moral content. Thus, while we, as readers of fiction, might readily accept time travel, flying unicorns, and giants atop beanstalks as provisionally, contextually, and fictionally true, we are not, given roughly the same circumstances, willing to accept the goodness of murder or the righteousness of villainy as equally true. Our imagination, in other words, “resists” claims of fiction to the extent
Codeless prints do not exist. The codes may be invisible, but
the properties of techniques always impact content.
The information in many prints is encoded in binary systems of
‘on’ and ‘off,’ of black and white.
Grey does not exist.
Prints draw upon the nature and resistance of materials
Web 2.0 technologies open up many new opportunities to engage publics at all stages of the research process, from design, through data collection and processing, to dissemination, and in a variety of different ways. These can range from fairly passive approaches that provide content for those seeking information (e.g. via project web pages) to highly interactive approaches, such as games and apps. These projects are enabled by a growth in technology, both hardware and software, that enables interaction and engagement and makes it easier for individuals to