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Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.
It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.
the field itself. On the other hand, connections developed in urban areas or within formal and established scientific institutions, such as in universities or museums, tended to maintain that decorum, as well as be reflected in the types of work the scientists do together. I reveal the nuances behind these varying sites of knowledge creation and the effect that the rural field site Petrie occupied or the urban institution Maspero led can have on the development of scientific networks. While detailing each of these instances would be a book-length study, Breasted
, some more significant than others, in the history and practice of knowledge creation in Egyptology. From 1877 to 1907, there were a few smaller hotels such as the Savoy and the Grand Hotel Tewfikieh (later just the Grand Hotel). The Grand Hotel was owned by Henry Gaze, Cook's biggest Nile travel competitor, but since Gaze was out of business by 1903, the hotel did not last long. According to the 1902 Baedeker's Egypt map of Luxor, the Grand and the Savoy, two of the first hotels one encountered coming upriver into Luxor, had massive gardens that
Early Russian glaciology in Central Asia began during the second half of the nineteenth century, with the establishment of Russian colonial rule in the region. First scientific observations of glaciers took place during Russian scientific expeditions to Central Asia, often in combination with military campaigns. This chapter analyses the ‘scientific biographies’ of two glaciers in the Pamir Mountains of Central Asia: the Abramov Glacier, today in Kyrgyzstan, and the Zeravshan Glacier, today in Tajikistan. The scientific biographies of these two glaciers are closely connected to the prevailing political context, knowledge creation, and historical protagonists. What is revealed is that the Abramov and Zeravshan glaciers became scientific objects in the context of Russian conquest: they were first mapped by military topographers, and then studied by mining engineers carrying out geological surveys in Central Asia. Insights from the two scientific biographies suggest that enlisting these glaciers in Imperial Russian science was a gradual and non-linear process. While glaciers began to appear as scientific objects in Russian narratives, they remained obscure despite their prominence in the Central Asian landscape. I argue that these regimes of vision in Imperial Russian science are epistemologically, politically, and economically constructed. The (in)visibility of these two glaciers in scientific narratives is a result of symbolic and material imperiality in Russian Central Asia.
, radically incremental methods is discussed, pointing to some brief examples in the conclusion. The provocations of ecological crisis and the need for a pragmatic response In 1991, Jacque Emel wrote an editorial for Environment and Planning D: Society and Space entitled ‘Ecological crisis and provocative pragmatism’. This short essay, which has inspired and stayed with me ever since, makes a compelling case for a pragmatic approach to theory and knowledge creation in an era of ecological crisis. Emel described the ecological crisis that had crystallised since the
. 9 Using the framework of scholarship on geographies of knowledge creation in science and on social and professional networks in science alongside an examination of the professional behaviours of many archaeologists working in Egypt, I will show that the hotel environment should be centralised by historians because it showcases the sociality and sociability of science, illuminating how scientists play with and produce knowledge in the most casual of settings. A reappraisal of Egyptology The chapters
regarded as a locus for knowledge-creation within defined boundaries. Nevertheless, Perkins comes to the conclusion that in a post-disciplinary or hybrid art context, the practice of the studio should not necessarily be abolished. While ‘knowledge of the specificities of disciplines and of their histories’ is retained, post-disciplinary studios are characterised by an openness to
Similarly, Steinfeld observes that Chinese specialization in manufacturing assembly has facilitated not only US but also Western European and Japanese specialization in something much more difficult to replicate: knowledge creation and invention. 2
informed debate. Openness about how we arrive at conclusions on the basis of evidence is what enables the type of empirical self-corrective knowledge creation that science has (often rightly) claimed to be. Why is it, then, that openness – in science, but also in other domains of life – has become such a buzzword in the twenty-first century? There 1 Dave Eggers’s 2013 novel The Circle is a stark illustration of this, particularly since it was meant as science fiction and yet seems to describe the cult of transparency as a solution to social problems. 98 Science and