12244 research outputs found
Sort by
Etosha-Kunene Histories: a weave of prior work - entangled and contested pasts, lands and ‘natures’ in post-colonial Namibia
No full textThis report presents a weave of prior work produced by the principal investigators of the
Etosha-Kunene Histories project, funded by the UK’s Arts and Humanities Research Council
and the German Research Foundation. It brings together key points of convergence and
thematic overlaps between their work and creates a generative and interdisciplinary
dialogue on Etosha-Kunene’s complex and entangled pasts, lands and ‘natures’. Broadly
speaking, this report explores the contributions of the three authors to understanding
Etosha-Kunene’s overlapping colonial and social histories of settlement, land, conservation
and indigeneity. In doing so it considers changing livelihoods and land-relations, and the
diversity of resource use, management and knowledge practices which co-constitute the
past and present of Etosha-Kunene’s ‘cultures’ and ‘natures’. The report thus reads across
their work to provide insight into the historical processes, changing policy and legal
mechanisms, and colonial and global discourses which have shaped Etosha-Kunene’s
emerging socio-materialities, and contributed to hegemonic ways of imagining, valuing, and
knowing ‘nature’. A focus here is on ‘African landscapes’ and dryland ecologies, and the
ongoing and dialectical construction of cultural identities, ethnicity, and indigeneity. Their
work argues for learning from locally-rooted and culturally-inflected land-relations, diverse
tenure institutions, and indigenous and gendered knowledge systems and values: both for
conservation praxis and for informing environmental and land management debates. Lastly,
the report explores their contribution to decolonising environmental knowledge and
heritage management practices through an ongoing engagement with and mapping of what
is termed ‘relational ontologies’ and occluded social and cultural landscape histories
My revolution is working out
No full textWatch or move with three ‘performers’ – appearing as artists, students, activists – in a twenty-three minute event showing everyone how to demonstrate together. Following a projected slideshow of drawn-scores, and using fitness meter watches, the performers ‘trace’ their steps with coal while showing actions. Do it together: revolve, SHOUT – RESIST! – mark steps, trace time, erase, appear, disappear, revolve again
Developing a hydrofeminist art practice: bodies, spaces, practices
Get PDFThis research presents primary work that has been situated in the city of Plymouth (UK) – Benthic Caress (2017), Hydrosapien (2018) and Manual for Nomads (2020), supported by three bodies of exploratory work (Interim, Rhyne & Huish, Field Notes). Documentation of the work can be found here: https://aquameteor.wordpress.com/
This is a practice led PhD that seeks to make a contribution to knowledge by developing the concept of hydrofeminism, through practice. This work is practice-driven, and consciously situated within Environmental Humanities, and this thesis is foundationally and iteratively entangled with the practice. The thesis is undertaken in an interdisciplinary location of intersecting artistic practices, feminisms, posthumanism and cultural geographies, aiming to fold these entanglements into the emerging field of environmental humanities (Bird-Rose et al 2012). It is done through practice led research, thus extending hydrofeminism from its academic (text based) foundation in the work of Neimanis (2012). Water, specifically oceans, estuaries, rivers and other ‘natural’ bodies of water (including puddles) has been the material signifier across the body of work shared here, which is transdisciplinary and which has investigated hydrofeminism using a wide range of creative tools. The creative practice presented here is about water, explored through feminisms, hydrofeminism, transcorporeality, posthumanism and embodiment. Benthic Caress was a site-specific and site-responsive immersive experience that offered participants a sonic engagement with marine life using silent disco technologies. Hydrosapien was a public performance of a section of Hydrofeminism (Neimanis 2012) that pertains to ecotones, presented by a Silent Choir and two experimental voice artists. Manual for Nomads is a short film exploring community and the climate crisis that brings the languages, codes and methods of communication of differently abled persons together to create new conceptualisations of the ecotone
Family justice, turbulent times and demarking the space for social justice activism in clinical legal education
Get PDFDrawing upon empirical research, this paper pursues two interconnected lines of inquiry. First, it examines the regional impact of turbulent and extraordinary times upon both vulnerable individuals within the family justice arena, and those organisations supporting associated legal needs within the voluntary advice sector. Secondly, the paper explores the role of activism in curricular, co-curricular and extra-curricular clinical legal education from the perspective of key stakeholders including students, institutional providers, charity and commercial supporters and clients. The central aims of this research are (1) to identify key opportunities to refocus future and ordinary times thinking about the mission and models for clinical legal education; and (2) to establish legitimate boundaries for social justice activism within legal education more generally
How creativity is oppressed through traditional education
Get PDFPurpose:-
Creativity has been positioned as a critical workplace competence, especially in societies in which conditions are rapidly changing. The fact that traditional educational processes oppress creativity is theoretically important. The purpose of the present paper is to theoretically map the process of teacher-directed learning and how the process oppresses creativity.
Design/methodology/approach:-
A theoretical paper in which a conclusion is drawn that there is a primary and secondary process of creativity oppression with traditional teacher-directed learning.
Findings:-
It is proposed in the present paper that the primary process of creativity oppression is that the pathway to a “high achieving pass” is for learners to make knowledge constructions that mirror that of the educator (rewarding non-creative learning outcomes). A secondary, silent and powerful mechanism of creativity oppression is where the learner does not “buy in” with the educator to accept their knowledge inculcation. The student here may indeed produce a creative learning outcome from the process, but they are likely to be judged for that work as a “low achieving pass” or a fail.
Originality/value:-
The paper seeks to identify the mechanism in which creativity oppression may accumulate over time until learner creativity is quashed
Aspects of dwelling: an investigation into the role of domestic spaces in E.M. Forster’s 'Howards End' and its influence on my own writing
Get PDFThis PhD by Publication consist of two parts: Part One is a selection from the body of published work that I have produced since 1991, namely the poetry collections 'Householder' (Chatto and Windus 1991); 'After The Deafening' (Chatto and Windus 1994), 'Island to Island'
(Chatto and Windus 1999), 'We Were Pedestrians' (Chatto and Windus 2005) and 'The Seacunny' (Picador 2012), along with my first three published novels 'August' (Chatto and Windus 2001); 'I’ll Go To Bed at Noon'; (Chatto and Windus 2004) and 'A Curious Earth' (Chatto and Windus 2007), known collectively as 'The Jones Trilogy'.
Part Two is a contextualizing thesis. In this I examine the role of dwelling and the depiction of domestic spaces in my writing and attempt to situate them within a context of other writing about domestic spaces, with particular focus on E.M.Forster’s novel of 1910, 'Howards End'. I adopt a personal, autobiographical tone and viewpoint in the early part of this thesis because this seems to be the most appropriate way of examining the influence of Forster’s novel on my own thinking and my writing. I begin by performing an act of descriptive recall by remembering my own childhood home in North London. 'Howards End' begins with a similar descriptive act, and this gives me the
opportunity to describe the impact that novel had on me both in terms of my development as a writer, and at a personal level, describing how its mytho-symbolic system interacted with my own family history. After describing my own visit to the house in the early 1980s I look more closely at Forster’s personal history of dwelling and what the model for 'Howards End', Rooksnest, might have meant to him. I follow this with a brief survey of the history of the
country house in the English novel and the place of 'Howards End' within that tradition before charting my own early and unsuccessful attempts at writing novels that addressed similar themes. I then describe how an encounter with Peter Redgrove and his work while I was a student at Falmouth School of Art turned me in the direction of writing poetry. I describe his use of domestic imagery and I look at my five poetry collections, tracing their own uses of such
imagery.
The next section returns to 'Howards End' for a closer look at the writing itself. In particular I examine Forster’s use of water metaphors when writing about buildings, which
provides some links to my own ways of thinking about buildings in relation to notions of durability, time and permanence. Another survey of some failed early novels of mine follows before I turn to describing my first published prose works, 'The Jones Trilogy' ('August', 'I’ll Go To
Bed at Noon' and 'A Curious Earth') and come to the conclusion that as well as echoing some of the themes of Forster’s novel, the house in my trilogy is also trying to say something about the importance and nature of artistic creativity.
In chronicling the development of my writing through the numerous failures as well as the successes I hope to show that the creative process is, for me at least, one of constant trial and error, experimentation and risk-taking. I can only estimate that I wrote around nine novels before
having my first, August, published in 2001 (it was subsequently shortlisted for the Whitbread Fist Novel Award). I hope that this may offer encouragement and reassurance to others that the publishing of novels and sustaining a career as a novelist is a process in which both successes and failures contribute to the overall journey, and that this journey is never one that can be undertaken lightly
Dijital miras (digital inheritance)
No full textWhat happens to the assets that are stored electronically and found only in digital form when the user dies is a topical issue. The question is whether the digital information belonging to the deceased’s, i.e. ‘digital inheritance’, will be passed on to the heirs or not. Although in the globalising world the content of digital information may change from day to day, it is currently acknowledged that digital information may include data in cloud computing (documents, videos, photos), information stored on online platforms such as Google, Facebook, Uber, e-mails and social media accounts. Digital assets are discussed from the perspectives of property law, wills and succession, intellectual property, data protection, consumer law and contract law. That said, this article discusses
whether digital information, which is not in a physical form by its nature and sometimes does not have any economic value, is inheritable property in Turkish inheritance law
Dijitalleşmenin Avrupa sözleşme hukuku’ndaki yansımaları = Reflections of digitalisation on European contract law
No full textA global phenomenon, digitalisation has emerged as a process that refers to the rapid integration of digital technology into all aspects of personal and professional life. Without a doubt, the way of handling many activities has changed with digitalisation. As a reflection of this, rapidly developing digital information and communication technologies have presented themselves in each area of law. The rapid technological change of digital products has led to the need to make regulations in the field of law, and an important part of this is devoted to the adaptation of contract law to the changes brought about by digitalisation. The European Commission, which could not remain silent to these developments, has introduced a new legislation that responds to the difficulties caused by digitalisation from the formation to the performance of contracts for the sale of digital content and digital services. Although the new
legislation contains provisions that reflect concepts already established in European contract law, it also includes new provisions that take into account the specific characteristics of digital products and the way in which they are procured. The new provisions are related to the role of data in the formation of the contract, the nature of the contractual obligations regarding digital content, the determination of whether the digital content and services are in conformity with the contract and the rights of the parties in case the contract is breached. In parallel with the changes in the digital age, the subject of this presentation is how these new concepts, principles and rules in the field of contract law are reflected on European contract law and how modern contract law can be designed to overcome the difficulties brought by digitalisation