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Material culture and tangible labour

With the increasing digitisation of almost every facet of human endeavour, concerns persist about ‘deskilling’ and precarious employment. The publishing industry has turned its energy to online and electronic media, and jobs continue to disappear from printing, publishing and journalism. The replacement of human labour with computerised technologies is not merely a contemporary issue; it has an established history dating from the mid-twentieth century. What is often missing from this record is an understanding of how the world of work is tightly interwoven with the tangible and affective worlds of material culture and design, even in ‘clean’ computerised environments. Workplace culture is not only made up of socio-political relationships and dynamics. It is also bound up with a world of things, with and through which the social and gendered processes of workplace life are enacted and experienced. Understanding how we interact with and interpret design is crucial for appreciating the complexities of the labour experience, particularly at times of technological disruption. Hot Metal reveals integral labour-design relationships through an examination of three decades in the printing industry, between the 1960s and 1980s. This was the period when hot-metal typesetting and letterpress was in decline; the early years of the ‘digital switch’. Using oral histories from an intriguing case-study – a doggedly traditional Government Printing Office in Australia – this book provides an evocative rendering of design culture and embodied practice in a context that was, like many workplaces, not quite ‘up-to-date’ with technology. Hot Metal is also history of how digital technologies ruptured and transformed working life in manufacturing. Rather than focusing solely on ‘official’ labour, this book will introduce the reader to workers’ clandestine creative practices; the making of things ‘on the side’.

Open Access (free)
Simon Parry

negotiations with the sometimes sickening upheavals of scientific and technological development that I introduced in Chapter 1. It has taken on a broad range of scientific and performative practices, because I would argue that there is a need to find diverse, creative ways of practising cosmopolitics. Doing cosmopolitics, for me, means facing the challenge of coming to terms with different ways of knowing. A lot of problems faced in the world are 160 Science in performance cosmopolitical problems: they are problems that cannot be solved by singular ways of knowing

in Science in performance
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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The writers’ perspective
Robert Crawshaw

. Twenty-eight writers and performance poets were interviewed. Eight of these could also be described as ‘cultural agents’ (CAs) in virtue of their role as promoters or facilitators of the artists’ creative output. The participants were ‘interviewed’ individually and were well known to the ‘interviewer’. The relationship between the interlocutors was as much institutional in a sociologically discursive sense as it was personal. The context ‘positioned’ them. Whilst positioning themselves in relation to the interlocutor as individuals, they were knowingly fulfilling the

in Postcolonial Manchester
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The complexities of ‘radical openness’ in collaborative research
Daisy Hasan-Bounds, Sarita Malik, and Jasber Singh

The Creative Interruptions project brought researchers from five UK universities and several non-university-based collaborators together to explore the political role of the arts and creativity within disenfranchised communities. 1 At its heart was the concept of co-creation, the process of producing and collecting knowledge in collaborative ways. 2 The Introduction and Chapter 1 in this volume reveal the scope and context of Creative

in Creativity and resistance in a hostile world
The academy and the canon
Damian Walford Davies

to seek a new canon for the curriculum by giving primacy to those texts that exhibited or made creative use of the themes that animate contemporary investigation, while sternly avoiding the tendency to say that Wordsworth must be liberally represented and other texts must often give way? I shall act, for the moment, in this spirit. However, a modifying assumption is at work in my construction, and it is a practical one: pressure on time and space will lead to an emphasis on texts where more than one of the desired themes can be exhibited at once. But this

in Counterfactual Romanticism
Shelley Tracey and Joe Allen

7 Collage-making for interdisciplinary research skills training in Northern Ireland Shelley Tracey and Joe Allen Setting the scene T his chapter shares our practice of collage-making for identifying and extending ideas for research in a course entitled Creative Thinking and Problem Solving (CTPS), part of a postgraduate research training programme. The programme provides a range of opportunities for doctoral students across the university to develop skills for designing, writing and presenting their dissertations and managing the demands of a PhD process

in Lifelong learning, the arts and community cultural engagement in the contemporary university
A tale of two professors
Randee Lipson Lawrence and Patricia Cranton

challenges the myth of the researcher as a distant outsider, debunking the researcher’s privilege of rationality and positivism. We argue the potential of using alternative creative processes for conducting research in the academy, focusing in particular on the crucial role of the research adviser. We also believe arts-based qualitative research can engage all of our senses and bring forth extra-rational knowledge that has the capacity to bridge cultural differences and promote transformation and social justice, in agreement with Finley (2008: 72) who argues ‘at the heart

in Lifelong learning, the arts and community cultural engagement in the contemporary university
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Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé and Ben Wubs

creative process within luxury conglomerates remained autonomous and decentralized, according to the existing literature. 1 The French holding company Moët Hennessy Louis Vuitton (LVMH), the world’s largest fashion and luxury group, is an excellent embodiment of this organizational change. 2 Today, LVMH presides over a €35 billion (approximately $39 billion) luxury and fashion empire from headquarters in the upmarket eighth arrondissement in Paris. This chapter is a case study of LVMH that explores the evolution of the fashion and luxury industries, entrepreneurship

in European fashion
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Darlene E. Clover and Kathy Sanford

Introduction Darlene E. Clover and Kathy Sanford We need to transgress boundaries and take risks with our programmes, our learners and ourselves as adult educators. (Lipson Lawrence, 2005: 81) I Universities should be the places where we fearlessly encourage complex thinking and doing, creating and collaborating. (Burnett, 2011) maginatively educate. Aesthetically elucidate. Visually illuminate. Creatively investigate. Theatrically explicate. Artistically animate. Performatively resonate. These concepts characterise the innovation, energy and courage Lipson

in Lifelong learning, the arts and community cultural engagement in the contemporary university