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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
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Messages, threads and tensions
Kathy Sanford and 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
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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
The Virgin in the Garden and Still Life
Alexa Alfer and Amy J. Edwards de Campos

also between the creative and the critical imagination. As both writer and critic, A. S. Byatt is acutely aware of the formal and philosophical difficulties that have bedevilled the realist project from the outset. If she professes ‘a strong moral attachment to its values’, such attachment is always already bound up with ‘a formal need to comment on [these values’] fictiveness’ and a profound sense

in A. S. Byatt
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Catherine J. Frieman

of singular acts of invention is likely futile. That said, from an archaeological perspective, it is worth our time to question whether invention is simply a momentary conjunction of person, place, thing, and concept, rather than a more extensive and culturally embedded process. Consequently, this chapter will explore the concept of invention – both as a creative act and as part of larger technological systems – to suggest that, like innovation, it emerges from and exists within complex relationships between individuals, technological systems, and wider social

in An archaeology of innovation
Stephen Greer

-​exploitation are informed by the intersection of creative and economic imperatives. In doing so, I first locate the work of the contemporary solo performer in relation to the figure of the solitary, entrepreneurial arts worker. Though theatre-​makers involved in the creation of solo performance are not necessarily solo workers –​and are more frequently engaged in collective or collaborative labour with a range of others in different creative and administrative roles  –​the paradigm of individualised entrepreneurship nonetheless dominates the larger context in which contemporary

in Queer exceptions
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Science and art in Antarctica
Mike Pearson

world, in the form of a number of gilt picture frames.13 On arrival, he refashioned them into a traditionally designed sledge. He also took a number of models, toys and children’s books – from Action Man to the Ladybird book Scott of the Antarctic. These he photographed in the Antarctic landscape, carefully using perspective and the distance between foreground and background to suggest humorously that the toy is of equal stature to its authentic counterpart – so his sledge appears to be pulled by dogs, absent on the continent since 1994. Architecture All creative

in Extending ecocriticism
John Narayan

4 Social Intelligence and Equality The democratic faith in human equality is belief that every human being, independent of the quantity or range of his personal endowment, has the right to equal opportunity with every other person for development of whatever gifts he has. (LW14: 227) We talk a great deal about democracy as equality of opportunity and then we adopt a system of private ownership of opportunities that makes our boast a farce and a tragedy. (LW11: 256) Throughout his life and beyond it, Dewey’s work on creative democracy has largely been criticized

in John Dewey
Peter John, Sarah Cotterill, Alice Moseley, Liz Richardson, Graham Smith, Gerry Stoker, and Corinne Wales

varied by these local agencies, as they learn from experience. And it was this creative process of using nudges that our design experiments attempted to reproduce. In this way, the time-limited nature of nudges is not a disadvantage because public agencies and other partners are continually using a wide range of time-limited strategies to improve public policy. The fifth limitation stems from the collaboration needed to implement nudges involving public agencies. The messiness of everyday policy-implementation means that it takes a lot of effort to get a nudge

in Nudge, nudge, think, think (second edition)