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bags were made using printing techniques inspired by Cage, and a ‘John Cage Video Booth’ was set up to make a collaboratively constructed piece of video poetry from randomly selected words. Simple concertina journals with lino-printed covers were made together with handcrafted bookmarks to capture responses to the music and art on display. One activity also asked participants to respond in the form of a haiku (a three-line Japanese poem) and this became a film installation when the poem was typed using a vintage typewriter, filmed and projected. Over two hundred

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

to tribal societies much less to some sort of imagined archaic phase of human existence. Elsewhere I offer extensive critiques of ‘scientific fire myths’ that occur in two recent books that lie on the serious end of popular science writing.2 Here3 I will round out the modern status of the fire myth by calling attention to, and offering some preliminary comments on, another, quite different venue in which something like the traditional fire myth appears – specifically, popular cinema. My focus will be a film that directly deals with gaining control of fire and which

in Framing cosmologies
Public and private negotiations of urban space in Manchester

see and recognise one another’s desire. Such unarticulated qualities of life require the use of more evocative, multi-dimensional and sensuous expressions than the realist documentary conventions of anthropology permit (Crapanzano 2004; Michael Atkins 89 Edwards 1999: 54). The use of conventional anthropological photography and film presented a number of practical and ethical problems in the context of my research. Many of the lads were suspicious of photography, seeing it as a form of surveillance and fearing the potential social, legal and personal

in Realising the city

, comic strips, crosses, and portraits of Pope John Paul II, paintings, film posters, posters with animals, naked women, male film stars with naked chests and unzipped jeans: in other words, sacrum and profanum. A search for office images in a stock photography bank would yield photographs of neat offices, where clean furniture occupies an otherwise empty space. No mascots, family photographs, ferns, printed or handwritten way-finding signs, piles of documents in binders and boxes scattered on the floor or falling from shelves. The reality as seen by the researcher (me

in Overwhelmed by overflows?
Between old and new media

considering the importance for mega-events of the rise and influence of mass television (Chapter 1). Even before it had become effectively universal in the US in the 1950s and in Europe in the 1960s this period was being referred to as the television age. An interesting illustration of the common usage of this concept here is that of a legendary figure in the birth and growth of America’s film industry from the 1920s to the 1950s, namely Samuel Goldwyn, founder of the MGM film corporation. Towards the end of his life he recognised the scale of the coming media

in Mega-events and social change
Abstract only

of students on campuses worldwide who employ a virtual carnival of arts such as community theatre, film, video, posters, poetry, music, textiles, zines, puppets and more to make statements, address social issues, challenge authority and injustice or simply have fun and celebrate. Yet we can argue equally that improvements remain to be made. Not all of the arts (read crafts) are recognised as valid ‘high’ art forms; the chasm between high and low art persists, perpetuated by other elitisms on the higher education campus. Many university art museums or galleries are

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Open Access (free)

they were described. Just so did Mozart's Don Giovanni and Leporello by exchanging clothes enable Giovanni to evade his pursuers. But dressing as someone else has its perils. In Eisenstein's Ivan the Terrible it was by flattering the conspirators’ candidate for the throne into wearing the royal robes that the tzar diverted the assassin's knife to the usurper whose cause it was meant to advance. 13 In an age without photography, film, television, or the Internet, faces were unknown beyond an immediate circle, while clothes proclaimed a king. Renaissance theatre is

in Cultivating political and public identity
Exploring the experiences of migrant children in Irelandc

know them, often over long periods of time. We talked with them about their lives and their migration experiences, incorporating both ethnographic methods and a range of participative techniques such as artwork, mapping, photography and play-and-talk (see Bushin and White, 2010; White et al., 2010; see also Clark Ibáñez, 2004; Coates and Coates, 2006; Poser, 2006). In all, qualitative and children-centred research was conducted with 194 migrant children (84 boys and 110 girls; aged three to eighteen) across Ireland, between 2006 and 2009. Following accepted legal

in Migrations
Indigeneity, bioprecarity and the construction of the embodied self – an artist’s view

the recent film, Sameblod (Sámi blood) ( 2016 ). This coming-of-age film set in 1930s Sweden (Ehrlich, 2017 ) centres on a young Sámi girl who ‘[e]‌xposed to the racism of the 1930s and race biology examinations at her boarding school … starts dreaming of another life. To achieve this other life, she has to become someone else and break all ties with her family and culture’ (IMDb, n.d. ). But this break with her Sámi family history does not happen before the film has detailed the many humiliations to which the central character and her younger sister are exposed

in Bodily interventions and intimate labour
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popular culture, where the display of corpses in police dramas, horror films and television series centres –​almost obsessively –​on the figure of the forensic pathologist and the cutting-​up of dead bodies.24 The second set of questions is more strictly ethical in nature. Works of fiction, along with photography and film, engage just as directly as religious or scientific practices with the fundamental questions raised by the bringing to light and public display of corpses and human remains with regard to the respect they are owed. These documentaries and works of

in Human remains in society