life and live out the fascistic dream. That doesn’t mean to say the threat of violence ever truly dissipates from the relationship. Once the power over life is normalised, the spectre of violence is in fact omnipresent. It has to be that way or else the still existent capacity to resist might result in a reversal of fortunes. In the absence of violence there is an absence of fear. And in the absence of fear life can live affirmatively, creatively, resistively in the primary and ontological sense of these terms, with all the public and joyful expressions of difference
Architecture, Building and Humanitarian Innovation
and a tight
timeframe, yet they managed to respond creatively to the peculiar situation in
Vienna, where huge empty office buildings had been allocated to shelter new asylum
seekers during the ‘summer of migration’ in 2015. The architects had
focused on adding simple furnishings that created a more homely environment,
articulating a careful, human-centred approach that had interpreted shelter not as
four walls and a roof but as a calming and secure internal space. The aim
This is not a problem until a situation arises which presents an existential threat and a
paradigm shift is required purely for survival, which was of course the rationale that
the original ALNAP study gave for innovation. This rationale draws on the idea of
creative destruction, the phrase coined by Joseph Schumpeter to describe how the
‘fundamental impulse that sets and keeps the capitalist engine in motion comes
from the new consumers’ goods, the new methods of production or transportation
The Law and Politics of Responding to Attacks against Aid Workers
Julia Brooks and Rob Grace
the NGO for which he worked had a policy against the use of military escorts. Yet, in a context where, due to the insecure nature of the field environment, the use of military escorts was ‘the only way authorities would accept movement’, they reached a creative solution by which the NGO travelled behind the armed convoy, ten minutes later. Another interviewee described similar dynamics at play during a hostage situation. The NGO he worked for had a policy precluding payment to secure hostages’ release, but in practice during hostage negotiations, the organisation
particular, networks forged by years of being there on the
ground. As a journalist I am alone, and in the best-case scenario I have a vehicle
and three phone numbers that a colleague held onto from a previous assignment.
Creative use of these limited resources and, above all, the war reporter’s
isolation – which allows a more independent, yet fragile, view of the
violence – are mentioned by Adrien Jaulmes, a Le Figaro
reporter and ex-soldier (he was a lieutenant in the Foreign
Four Decisive Challenges Confronting Humanitarian Innovation
Gerard Finnigan and Otto Farkas
humanitarian sector. Chesbrough (2006) used the term ‘open
innovation’ to explain the shift in the way companies had been innovating.
Historically, businesses attempted to internalise the creative and innovative
process, funding large research, development and design laboratories by selling
market successes at high margins ( Chesbrough and
Crowther, 2006 ; Van de Vrande
et al. , 2009 ). The humanitarian sector followed a
similar path. It promoted
Art and culture are supposed to bring society together. Culture is bad for you challenges the received wisdom that culture is good for us. It does this by demonstrating who makes who and consumes culture are marked by significant inequalities and social divisions. The book combines the first large-scale study of social mobility into cultural and creative jobs, hundreds of interviews with creative workers, and a detailed analysis of secondary datasets. The book shows how unpaid work is endemic to the cultural occupations, excluding those without money and contacts. It explores unequal access to cultural education and demonstrates the importance of culture in childhood. The book looks at gender inequalities, analysing key moments when women leave cultural occupations, while men go on to senior roles. Culture is bad for you also theorises the mechanisms underpinning the long-term and long-standing class crisis in cultural occupations. In doing so it highlights the experiences of working-class origin women of colour as central to how we understand inequality. Addressing the intersections between social mobility, ethnicity, and gender, the book argues that the creative sector needs to change. At the moment cultural occupations strengthen social inequalities, rather than supporting social justice. It is only then that everyone in society will be able to say that culture is good for you.
This book provides a lucid, wide-ranging and up-to-date critical introduction to the writings of Hélène Cixous (1937–). Cixous is often considered ‘difficult’. Moreover she is extraordinarily prolific, having published dozens of books, essays, plays and other texts. Royle avoids any pretence of a comprehensive survey, instead offering a rich and diverse sampling. At once expository and playful, original and funny, this micrological approach enables a new critical understanding and appreciation of Cixous’s writing. If there is complexity in her work, Royle suggests, there is also uncanny simplicity and great pleasure. The book focuses on key motifs such as dreams, the supernatural, literature, psychoanalysis, creative writing, realism, sexual differences, laughter, secrets, the ‘Mother unconscious’, drawing, painting, autobiography as ‘double life writing’, unidentifiable literary objects (ULOs), telephones, non-human animals, telepathy and the ‘art of cutting’. Particular stress is given to Cixous’s work in relation to Sigmund Freud and Jacques Derrida, as well as to her importance in the context of ‘English literature’. There are close readings of Shakespeare, Emily Brontë, P. B. Shelley, Edgar Allan Poe, Lewis Carroll, Virginia Woolf, James Joyce and Samuel Beckett, for example, alongside in-depth explorations of her own writings, from Inside (1969) and ‘The Laugh of the Medusa’ (1975) up to the present. Royle’s book will be of particular interest to students and academics coming to Cixous’s work for the first time, but it will also appeal to readers interested in contemporary literature, creative writing, life writing, narrative theory, deconstruction, psychoanalysis, feminism, queer theory, ecology, drawing and painting.
Environmental literary criticism, usually contracted to ecocriticism, has advanced considerably since the term was widely adopted in the 1980s and 1990s. This book considers examples of this advance across genres within literary studies and beyond into other creative forms. It explores the ecocritical implications of collaboration across genres in the humanities. The book also explores literary, artistic and performance production through direct collaboration between the creative disciplines and the sciences. It introduces the idea that the human denial of death has in part contributed to our approach to environmental crisis. The book argues that ecocriticism is a developing field, so attention must continue to be directed at reformulating thought in the (also) still unfolding aftermath of high theory. Examples of two poets' shared exploration show one's radical landscape poems side by side with the other's landscape drawings. Ecocritical ideas are integrated with the discussion of how this creative partnership has led to a body of work and the subsequent exhibitions and readings in which it has been taken to the public. One poet claims that to approach any art work ecocritically, it is necessary to bring to it some knowledge of current scientific thought regarding the biosphere. The book then explores poems about stones, on stones and stones which are the poem. The big environmental issues and Homo sapiens's problematic response to them evident in the mundane experience of day-to-day environments are discussed. Finally, the book talks about ecomusicology, past climate patterns, natural heritage interpretation, and photomontage in windfarm development.
This is a book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the ‘must-see’ series in the 1990s and 2000s such as This Life and The Cops, Tony Garnett has produced some of the most important and influential British television drama. This book charts his career from his early days as an actor to his position as executive producer and head of World Productions, focusing on the ways in which he has helped to define the role of the creative producer, shaping the distinctive politics and aesthetics of the drama he has produced, and enabling and facilitating the contributions of others. Garnett's distinctive contribution to the development of a social realist aesthetic is also examined, through the documentary-inspired early single plays to the subversion of genre within popular drama series.