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Shelby, Phil, and Chris Too:Parasocial Drama in my Early Research Career
Get PDFIn which I describe landmarks and waypoints in my struggles to establish myself as a university researcher
Online processing shows advantages of bimodal listening-while-reading for vocabulary learning:an eye-tracking study
Get PDFSpatial and Temporal Patterns in Petrogenic Organic Carbon Mobilisation during the Paleocene-Eocene Thermal Maximum
Get PDFThe violent death toll from the Iraq War:2003–2023
Get PDFFrom the beginning of the Iraq war, in March of 2003, to the present day, controversy has swirled around the death toll of the war. This paper narrows down the range of uncertainty for the numbers and trends in violent deaths in the war. I assemble and appraise all primary sources that cover the period from March of 2003 onwards—six sample surveys plus a casualty recording project (Iraq Body Count [IBC]). Data permitting, I present cumulative monthly figures with, for the surveys, 95% bootstrapped uncertainty intervals. The analysis uncovers a core of high-quality mainstream sources that are highly consistent with each another. In addition, there are three outlier surveys that are compromised by serious flaws and produce estimates far outside the mainstream. Discarding the outlying and flawed surveys reveals a clear picture of the violent death toll from the Iraq war. IBC figures, extended to include combatants, occupy a central position within the mainstream range of estimates. The strong consistency across the high-quality sources provides a rare validation of three war-death-measurement methodologies—household-based surveys, sibling-based surveys, and casualty recording. Methodological success notwithstanding, we must transcend the numbers to truly comprehend the human costs of the war
Visualising Intangible Sacred Spaces: The Materialities and Ephemerality of Orthodox Jewish Ritual Enclosures in London
Get PDFThis practice-led thesis explores the spatial, social, and philosophical implications of London Eruvin. The Eruv (plural Eruvin) is a ritual enclosure created by some Orthodox Jewish communities to circumvent the prohibition of carrying and pushing items in the public domain during Sabbath. Delimited by a fishing wire suspended above the ground it deeply influences the daily life of its users, allowing them to perform tasks as common as pushing a stroller or a wheelchair. Having introduced the aims, objectives and research questions of the thesis, Chapter One provides an overview on contemporary London Eruvin and their communities. In Chapter Two, I introduce the literature reviewed to explore the key theoretical themes that stand at the centre of contemporary Eruv’s geographical, social, and philosophical implications: the postsecular city and sacred space. Chapter Three presents a practice review of a selection of visual works responding to key themes that resonate with the Eruv and inspired the creative part of my work. The visual approach to the concepts of postsecular city and sacred space is combined with how selected photographers represented the tension between visibility and invisibility. This tension is central to the Eruv. In Chapter Four, I introduce the methodological approach I adopted to address the study of London Eruvin and their communities. The chapter explores how photographic practice, mapping, and visual ethnography have been selected and implemented to study, access and visualise the London Eruv and its communities. Chapter Five provides an overview of the cartographical aspects of the Eruv, exploring how it has been mapped and designed over the centuries through modern times. Chapter Six approaches the exploration of the Eruv on a street level, highlighting the relationship it establishes with the fabric of the city. Chapter Seven addresses how London Orthodox Jewish communities perform through rituals, events, and daily activities within their local Eruvin. Finally, Chapter Eight highlights how the aims and research questions were addressed through the thesis, suggesting further potential developments of the study of the Eruv. The dissertation is accompanied by a companion volume featuring my creative visual work.<br/
'Formalistic Freaks in Music':'Ilya Golovin', Shostakovich, and Zhdanovshchina for the Masses
Get PDFAmidst all the art, literature, music, and theatre of the ‘Zhdanovshchina’ (the post-war Soviet intervention in arts policy), one play stands out: Sergei Mikhalkov’s Ilya Golovin. In this play, a leading Soviet composer is chastised for his formalism but sees the error of his ways and again writes music of sufficiently socialist character. Ilya Golovin is noteworthy not just because it presents a crude parody of Shostakovich and his music, but because it reveals the wider context of the ideological campaign against artists and shows us something of how different artists responded. In this article, I argue that Ilya Golovin is not simply a bizarre example of multiple artists toeing the ideological line: instead it reveals the uglier side of late Stalinism in the form of vehement anti-Semitism, as well as demonstrating the xenophobic Cold War patriotism that served as the ultimate motivation behind the Zhdanovshchina itself
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