446 research outputs found
Alec Finlay, actor
No full textAlec Finlay, actorTo order a reproduction, inquire about permissions, or for information about prices see:
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Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Proof Beyond a Reasonable Doubt: A Balanced Retributive Account
No full textThe standard of proof in criminal trials in many liberal democracies is proof beyond a reasonable doubt, the BARD standard. It is customary to describe it, when putting a number on it, as requiring that the fact finder be at least 90% certain, after considering the evidence, that the defendant is guilty. Strikingly, no good reason has yet been offered in defense of using that standard. A number of non-consequentialist justifications that aim to support an even higher standard have been offered; all are morally unsound. Meanwhile, consequentialist arguments plausibly support a substantially lower standard — in some cases so low as to undermine the idea that punishment is what is at stake. In this paper, I offer a new retributive justification that supports excluding the instrumental benefits of punishment from the balance that sets the standard. The resulting balance supports a standard arguably in the ballpark of the customary understanding of BARD: a standard requiring that the fact finder have a high, though not maximally high, degree of confidence that the defendant is guilty
"Coloured hills" - a series of text based paintings and related work
No full textThis is an on-going series of paintings that look at how the Gaelic language has explored colour in landscape. Many hills in Scotland contain the Gaelic word for a particular colour in their name. These text paintings highlight the differences between mountains through a colour classification.
Additionally, a printed text work "A Glossary of Coloured Hills" acts as a companion piece to these paintings.
The print work (where I am the main author - I am the sole author of the paintings) was aided through conversation with poet and artist Alec Finlay as we sought to originate more nuanced, lyrical translations than those offered by the official Scot's/Gaelic dictionary
'Beauty tradition experiment' : Scotland, the avant-garde, and landscape in the work of Ian Hamilton Finlay and Alec Finlay
No full textThis is a critical study of Ian Hamilton Finlay (1925 - 2006) and Alec Finlay (b. 1966), analysing the ways in which they developed their practices as poets, artists and publishers. This thesis uses Alec Finlay's concept of the homely avant-garde as the starting point for an exploration of both poets' engagement with the relationship between art, society and the environment. Both poets' work is animated by the interplay of tradition and experiment, a relationship that is reflected in their treatment of place and conception of dwelling. I aim to show that while their work shares certain formal interests and cultural contexts, their responses to them are quite distinctive.This thesis builds on existing commentary through close textual analysis and extensive use of archival material including public and private correspondence. It is to my knowledge the first scholarly study of Alec Finlay, drawing on his work andinterviews. My project brings new theoretical approaches to the subject. I take a broadly cultural materialist approach, locating the Finlays' avant-garde poetics and art practice within their original contexts of post-war Scottish culture and the international small-press avant-garde. Later chapters consider the Finlays' treatment of landscape and the environment. I apply the pastoral theory of William Marx, Raymond Williams and Terry Gifford to Ian Hamilton Finlay's short stories and garden poems, exploring the tensions between nature and culture, country and city. In my analysis of Alec Finlay's eco-poetry and art, I reject Heideggerian ecocriticism's emphasis on poetry as a medium for the revelation of man's essential state of being in nature. Instead, I look to the geophilosophy of Deleuze and Guatarri in order to suggest that Alec Finlay's social and environmental art brings forth a series of becomings through its emphasis on pragmatic,co-operative and sustainable forms of creativity.This is a critical study of Ian Hamilton Finlay (1925 - 2006) and Alec Finlay (b. 1966), analysing the ways in which they developed their practices as poets, artists and publishers. This thesis uses Alec Finlay's concept of the homely avant-garde as the starting point for an exploration of both poets' engagement with the relationship between art, society and the environment. Both poets' work is animated by the interplay of tradition and experiment, a relationship that is reflected in their treatment of place and conception of dwelling. I aim to show that while their work shares certain formal interests and cultural contexts, their responses to them are quite distinctive.This thesis builds on existing commentary through close textual analysis and extensive use of archival material including public and private correspondence. It is to my knowledge the first scholarly study of Alec Finlay, drawing on his work andinterviews. My project brings new theoretical approaches to the subject. I take a broadly cultural materialist approach, locating the Finlays' avant-garde poetics and art practice within their original contexts of post-war Scottish culture and the international small-press avant-garde. Later chapters consider the Finlays' treatment of landscape and the environment. I apply the pastoral theory of William Marx, Raymond Williams and Terry Gifford to Ian Hamilton Finlay's short stories and garden poems, exploring the tensions between nature and culture, country and city. In my analysis of Alec Finlay's eco-poetry and art, I reject Heideggerian ecocriticism's emphasis on poetry as a medium for the revelation of man's essential state of being in nature. Instead, I look to the geophilosophy of Deleuze and Guatarri in order to suggest that Alec Finlay's social and environmental art brings forth a series of becomings through its emphasis on pragmatic,co-operative and sustainable forms of creativity
Fourth Amendment Rights for Nonresident Aliens
No full textThe U.S. National Security Agency has nearly unlimited authority to spy upon citizens of foreign countries while they are outside the United States. It goes almost without saying that such targeting of U.S. citizens, without any hint of individualized suspicion either of criminal wrongdoing or of being a threat to national security, would be constitutionally prohibited under the Fourth Amendment. However, the dominant view in the American legal community is that there is nothing constitutionally wrong, or even suspect, about such targeting of nonresident aliens.
This article argues that the dominant view of the law is wrong both descriptively and normatively. It is wrong with regard to the proper interpretation of the relevant constitutional case law, because that case law is more open ended and unclear than the dominant view represents it as being. And it is wrong with regard to the underlying legal and moral principles that should guide the interpretation and development of constitutional law. Those principles call for recognizing that nonresident aliens enjoy constitutional protection against unjust harms—a point argued for in a companion paper, “Constitutional Rights for Nonresident Aliens.” And those same principles imply that nonresident aliens enjoy the Fourth Amendment’s prohibition on unreasonable searches and seizures.Peer reviewe
Wish I Was Here. A Scottish Multicultural Anthology, Kevin MacNeil, Alec Finlay (eds.), Edinburgh: pocketbooks, 2000
No full textMapping the Borders Exhibition
No full textThis short video captures the exhibition 'Mapping the Borders', as part of the eponymous project curated by Inge Panneels as part of the Being Human Festival 2017. Mapping the Borders exhibition showcased the work of seven artists who 'map' the borders through the trope of the map or have used mapping as a methodology. The participating artists were Zoe Childerley, Mike Collier, Alec Finlay + Gill Russell, Kate Foster, Clare Money, Inge Panneels, John Wallace.
All works were exhibited alongside map facsimiles from the National Library of Scotland map collection
wild city | fiadh-bhaile | orasul salbatic
No full textIn collaboration with The Walking Library (Dee Heddon & Misha Myers), and poets Gerry Loose and Ken Cockburn, with artist Kate McAllan and photographer Mhairi Law, Alec Finlay created this artist book featuring photographic and written documentation of 'Wild City', a program of participative walks, public readings and workshops that explored encounters with the natural environment in and rewilding in an urban context, the politics of green spaces and commons, and imaginative pathways to adapt to and reverse climate breakdown. 'Wild City' was commissioned by European Championship Festival Glasgow 2018
Ludwig Wittgenstein: there where you are not
No full textThere Where You Are Not illuminates Wittgenstein's life-long search for his vocation, for his place in the world. A biographical collage by Michael Nedo, a photographic series by Guy Moreton, and a poetic album by Alec Finlay illustrate Wittgenstein's wanderings from Vienna to Cambridge via Berlin and Manchester, back to Austria, and finally back to Cambridge, as well as his search for a place to write in Norway and Ireland - a topography of Wittgenstein's life and wor
The Use and Abuse of Definitions in Constitutional Law: A Critique of Justice Roberts's Dissent in Obergefell v. Hodges
No full textJustice Roberts’s dissent in Obergefell v Hodges – the case in which the US Supreme Court found a constitutional right for same sex couples to marry – rested on the premise the Court cannot invoke the right to marry as a basis for changing the definition of marriage. But his argument works only if the Court has no obligation to find a constitutional meaning for the term. I argue here that it has such an obligation. I argue further that an analogy with the concept of ‘person’ throws light on how that obligation should work. And finally, I argue that the most plausible constitutional definition would include same sex couples.Peer reviewe
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