A New Network for Creatives
Come along to the first meeting and help shape Salford's new creative network
Wednesday 3rd July 2013
5:30pm - 7:30pm
Salford Museum and Art Gallery
Peel Park, Salford M5 4WU
Bringing creatives and active
communities together in Salford
Bringing people together for creative conversations across all artforms.
Promoting arts activities and showcasing local talent.
Sharing and extending arts knowledge, skill and aspirations.
Developing collaborative work and projects.
Guest speakers:
Alex Fenton is from Creative Hive, a free to use and advert free way for anyone to blog or set up a
showcase of their work www.creativehive.org.
Susi Wrenshaw specialises in site-specific cutting edge productions and creating new adventures in
unusual spaces www.happystormtheatre.co.uk.
Tell us you're coming.
RSVP on facebook at https://www.facebook.com/events/491358887601633/?context=create
Or email Allison.Stott@SCLL.co.uk
Thursday, 27 June 2013
Wednesday, 26 June 2013
Sheffield Hallam University PhD studentships
Graduate School PhD Studentships
Stage and Screen
Sheffield Hallam University -Department of Humanities
Faculty of Development and Society
Fixed-term for 3 years
Salary £13,726 per annum
Applications
are invited for a PhD studentship in the area of Stage and Screen,
which is housed within the Department of Humanities. The studentship is
for three years, subject to satisfactory progress, and will include
full UK/EU tuition fees and a stipend of £13,726, per annum. Bursary
holders will be expected to contribute to the resourcing of the student
experience during their second and third years of study, either through
seminar teaching or some other form of student support.
The start date for the studentships is 1 October 2013.
As
a minimum, applicants should possess a 1st or 2.1 Honours degree, but
preference may be given to those with a distinction at M level.
Informal enquiries are strongly encouraged and should be emailed to fdsresearch@shu.ac.uk. Further information about research in the Faculty can be found on the Graduate School website at http://www.shu.ac.uk/faculties/ds/gradschool/
Informal enquiries are strongly encouraged and should be emailed to fdsresearch@shu.ac.uk. Further information about research in the Faculty can be found on the Graduate School website at http://www.shu.ac.uk/faculties/ds/gradschool/
We
welcome applications from students wishing to work in the areas of
contemporary British theatre and the processes of playwriting; East
Asian and transnational cinema; film history and criticism; or
adaptation studies.
Application
forms are available from http://www.shu.ac.uk/study/form.html or
through
http://www.jobs.ac.uk/job/AGT948/graduate-school-phd-studentships/
At the top of the form please write 'studentship application' and return to
Graduate School Team, Sheffield Hallam University, Unit 9, Science Park, City Campus, Sheffield S1 1WB or email to fdresearch@shu.ac.uk
Please
note, at this stage, you only need to include the names and contact
details for referees and do not have to request references.
Non-EU Nationals please note
We welcome applications from non-EEA applicants. However, we have a legal responsibility to ensure that all employees are entitled to live and work in the UK. Before applying please check whether you would be eligible to work in the UK under the points-based system by using the UKBA points-based calculator. For further information please visit the UK Border Agency website. If you will need a Tier 2 Certificate of Sponsorship, contact us before applying to check whether we should be able to issue one if you’re appointed.
Closing date: 12 July 2013
We welcome applications from non-EEA applicants. However, we have a legal responsibility to ensure that all employees are entitled to live and work in the UK. Before applying please check whether you would be eligible to work in the UK under the points-based system by using the UKBA points-based calculator. For further information please visit the UK Border Agency website. If you will need a Tier 2 Certificate of Sponsorship, contact us before applying to check whether we should be able to issue one if you’re appointed.
Friday, 21 June 2013
Call for proposals: The Arena Concert: Music, Mediation and Mass Entertainment
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The Arena Concert: Music, Mediation and Mass Entertainment
Challenges to critical
engagement would seem to arise, firstly, along class lines: the event is truly
proletarian (at a time when the “alternative” of music festivals are
increasingly, at times preposterously, bourgeois). Secondly, along
technological lines: musicologists often seem ill at ease when dealing with new
paradigms of mediation, although performance, liveness, authenticity and
intimacy are all now reinvented through these vectors. Thirdly, along
experiential lines: the event can be wearying as much as entertaining. At its
miserable worst, and replicating the existence of battery hens for the fleeced
gig-goers, the arena concert is the eminently avoidable for denizens of
well-PA’d concert halls. Fourthly, in terms of traditional concepts of pop: the
event has little or no “present”, so that nostalgia tours and reunions jostle
with karaoke X-Factor contestants, stars negotiate between “keeping it real”
and hard selling their celebrity, and the “live album” of that night is somehow
also available to buy on that night. And, fifthly, in terms of celebrity:
hysterical mass gatherings around sole focal points are always a matter for
suspicion, and the traditionally oppositional nature of pop music is one that
auto-engenders a distaste for such totalitarian-style mass entertainments, and
its concomitant total consumer environment, on the part of its interpreters.
The arena concert becomes the
“real time” centre of a global digital network, and the gig-goer pays not only
for an immersion in (and, indeed, role in) its spectacular nature, but also for
a close encounter with the performers, in the contained space. This spectacular
nature raises challenges that have yet to be fully technologically overcome,
and has given rise to the reinvention of what the live concert actually means.
One thinks of the autobiographical narratives that come into play, so that the
gig is not just album-centred but life-centred (Alicia Keys revisiting the
music of her childhood, Kylie Minogue reminiscing about illness and past gigs
in the same cities), and not just a performance to attend, but a self-affirming
event (Lady Gaga’s talk of her global constituency). The enormous canvas
requires more - a “total” art. Hence the integration of the tropes and designs
of the fashion show, the circus, theatre and dance, ritual and religion, the
political rally and immersive video-gaming, which are offset by the ways in
which (via giant video screens) intimate and often acoustic moments are
achieved and shared (as with Keane and Coldplay). In this respect the arena
concert has come to compete with outdoor gigs in stadia and at festivals in
terms of remaking the live popular music experience for contemporary times,
raising the stakes for festival headline acts to be ever bigger and starrier
(as with U2, Radiohead and Beyonce).
The editorial team is:
Dr Robert Edgar, York St John University (The Music Documentary: Acid Rock to Electropop, Basics Film-Making volumes)
Dr Kirsty Fairclough-Isaacs, University of Salford (The Music Documentary)
Dr Benjamin Halligan, University of Salford (Michael Reeves, Mark E. Smith and The Fall, Reverberations, Resonances, The Music Documentary)
Dr Sunil Manghani, Winchester School of Art (Image Studies: Theory and Practice, Images: A Reader, Image Critique and the Fall of the Berlin Wall).
Call for chapter proposals:
The Arena Concert: Music, Mediation and Mass Entertainment
The idea of live popular
music as mass entertainment is one that presents an arresting series of
challenges and remains mostly unexplored in contemporary academic writing. And
yet, it would seem, arena concerts are coming to constitute the commercial
future of popular music, and popular music is being shaped by this phenomena.
We ask: what, then, is this phenomena? And what then are the challenges that
have blocked a critical engagement with this phenomena?
Challenges to critical
engagement would seem to arise, firstly, along class lines: the event is truly
proletarian (at a time when the “alternative” of music festivals are
increasingly, at times preposterously, bourgeois). Secondly, along
technological lines: musicologists often seem ill at ease when dealing with new
paradigms of mediation, although performance, liveness, authenticity and
intimacy are all now reinvented through these vectors. Thirdly, along
experiential lines: the event can be wearying as much as entertaining. At its
miserable worst, and replicating the existence of battery hens for the fleeced
gig-goers, the arena concert is the eminently avoidable for denizens of
well-PA’d concert halls. Fourthly, in terms of traditional concepts of pop: the
event has little or no “present”, so that nostalgia tours and reunions jostle
with karaoke X-Factor contestants, stars negotiate between “keeping it real”
and hard selling their celebrity, and the “live album” of that night is somehow
also available to buy on that night. And, fifthly, in terms of celebrity:
hysterical mass gatherings around sole focal points are always a matter for
suspicion, and the traditionally oppositional nature of pop music is one that
auto-engenders a distaste for such totalitarian-style mass entertainments, and
its concomitant total consumer environment, on the part of its interpreters.
The post-digital landscape of
popular music consumption is one in which, paradoxically, “liveness”, the
experience, and authenticity have been returned to their prime positions -
perhaps for the first time since their folk (Newport) and rock (Woodstock) heydays.
The failures to secure “the product” across the 2000s (via anti-piracy software
and corporate malware, judicial attacks on Napster and Pirate Bay, the locking
of hardware, and reimagining questions of ownership) have rapidly led to albums
being reduced to little more than giveaway promotional fodder. And popular
music, post-MTV, is no longer an audio form: a nexus of image and news,
celebrity and fandom, seeking to saturate all digital platforms, comes to
constitute what is both popular and what is considered to be music. For bands
and artists, managers (and even medics) are replaced by tour organisers. For
young fans, the gig becomes the only complete way of buying into the music, and
the experience of attending the gig is authenticated (and propagated) via
social media, with the night itself commemorated via DVDs of the event (of a
new subgenre of the arena concert film). For not so young fans, a plethora of
artists of yesteryear are suddenly available, and live, and live, once again: a
post-MP3 reformation.
The arena concert becomes the
“real time” centre of a global digital network, and the gig-goer pays not only
for an immersion in (and, indeed, role in) its spectacular nature, but also for
a close encounter with the performers, in the contained space. This spectacular
nature raises challenges that have yet to be fully technologically overcome,
and has given rise to the reinvention of what the live concert actually means.
One thinks of the autobiographical narratives that come into play, so that the
gig is not just album-centred but life-centred (Alicia Keys revisiting the
music of her childhood, Kylie Minogue reminiscing about illness and past gigs
in the same cities), and not just a performance to attend, but a self-affirming
event (Lady Gaga’s talk of her global constituency). The enormous canvas
requires more - a “total” art. Hence the integration of the tropes and designs
of the fashion show, the circus, theatre and dance, ritual and religion, the
political rally and immersive video-gaming, which are offset by the ways in
which (via giant video screens) intimate and often acoustic moments are
achieved and shared (as with Keane and Coldplay). In this respect the arena
concert has come to compete with outdoor gigs in stadia and at festivals in
terms of remaking the live popular music experience for contemporary times,
raising the stakes for festival headline acts to be ever bigger and starrier
(as with U2, Radiohead and Beyonce).
This proposed volume will be
the first such exploration of the arena concert. It will test and define,
intervene and assess, offer pre-histories, present histories and consider
future directions, and will concern itself with designers, choreographers,
mixers, musicians and bands, promoters, security, broadcasters, caterers,
social media use and audiences. We invite proposals for academic chapters,
interventions, interviews and more, and have secured informal interest from a
major academic publisher. Proposals should be 400-500 words and emailed as a
Word file (not a PDF) with minimal formatting, and with a biographical note and
contact details included, to Benjamin Halligan (b.halligan@salford.ac.uk) by 23
July 2013. Informal inquiries prior very welcome.
The editorial team is:
Dr Robert Edgar, York St John University (The Music Documentary: Acid Rock to Electropop, Basics Film-Making volumes)
Dr Kirsty Fairclough-Isaacs, University of Salford (The Music Documentary)
Dr Benjamin Halligan, University of Salford (Michael Reeves, Mark E. Smith and The Fall, Reverberations, Resonances, The Music Documentary)
Dr Sunil Manghani, Winchester School of Art (Image Studies: Theory and Practice, Images: A Reader, Image Critique and the Fall of the Berlin Wall).
Sunday, 9 June 2013
CFP: Death and Decay
Death and DecayThis call for papers invites submissions on the subject of ‘Death and
Decay’ for the third edition of HARTS & Minds, an online postgraduate
journal for students of the Humanities and Arts, which is due to be
published online in Winter 2013-14.
Our first edition and further information can be found at
www.harts-minds.co.uk and you can get updates on our journal at
www.facebook.com/hartsandminds.
Submissions should adhere to the guidelines available on our website.
You can either send us an abstract (approximately 300 words in length)
and a completed article (no longer than 6000 words) OR you may provide
an abstract (300 words) and a synopsis outlining the structure and
argument of your intended article (approximately 1500-2000 words).
You must use the article template available on our website to format
your article. All submissions should be sent with an academic CV to
editors@harts-minds.co.uk by Friday 4th October.
We will also consider Creative Writing pieces (poetry or short stories
of up to 6,000 words) please email for more details.
Subjects may include but are not limited to the following:
- Elegy, Obituary, the Funeral March, laments, Eulogy
- Medical Humanities (e.g. Parasites, disease, autopsy, the cadaver)
- Rituals and rites of the dead in various cultures
- Burial practices
- Death and dying in literatures
- Visual Death; in art, photography, illustration, in film and
television, on stage
- Death personified: the Grim Reaper, Yama & Lord of Naraka, Hel, Hades
etc.
- The geography of death; real or mythological
- Decay if buildings, bodies, nature, morals
- The undead, reincarnation, immortality
- The death of discourse, language, the author, God
- Death as taboo
- War and death
- The future of death in a posthuman world.
- Moral death
- Death: presence and absence
- Afterlife, textual afterlives.
- Hauntings, the undead, vampires, zombies.
- Eschatology
- The value of Death: what makes a justified or honourable death?
- Dirt and debris, Wrecks and ruins, Flotsam and Jetsam
- Monuments, Memorials and the Archive
- Suicide, both literal and metaphorical.
Please consider that HARTS & Minds is intended as a truly
inter-disciplinary journal and therefore esoteric topics will need to be
written with a general academic readership in mind.
--
The Editors
HARTS & Minds
editors@harts-minds.co.uk
www.harts-minds.co.uk
Thursday, 6 June 2013
Nina Power talk at MediaCityUK
Our thanks to Nina Power for her fantastic talk yesterday... the feminisation of rebellion, the media's moral narratives of protests and riots, cultures of surveillance and panda masks, the privatisation of public spaces...
That concludes our Graduate Programme for this academic year. The new programme will be announced in September / October, and October will also see a substantial PGR event at MediaCity too.
Monday, 3 June 2013
Grad Prog Weds 5 June: Nina Power / Representing Rebellion
Weds 5th June, MediaCity, Room 2.20, 4-5pm
Guest Speaker: Nina Power (Roehampton University)
Representing Rebellion: Media and Protest
Representing Rebellion: Media and Protest
This paper examines the framework in which the media - both putatively "left" and "right" - construct an examine of protest and perpetuate the myth of the "good" and the "bad" protester. It looks at the ways in which terms like "violence" are used by the media in a general way that nevertheless invokes both fear and permits the state to construct the context in which individuals receive lengthy jail sentences in court. It also looks at the way in which gender is invoked in images of protest (e.g. the Daily Mail's "Rage of the Girl Rioters" article during the student protests of late 2010). It argues that the media is complicit in a structure that seeks to uphold the existing order and pre-emptively criminalise protesters in much the same way as the state does. Sources will include: newspapers, tv footage, court reports and the police protester database.
She is the author of One-Dimensional Woman (Zer0, 2009) and is interested in independent publishing and
http://www.guardian.co.uk/profile/nina-power
Thursday, 30 May 2013
PhD scholarships at Leeds Met: sex, gender, power, identity and risk.
Full time Postgraduate Research Student Bursaries (at least two available) start date - October 2013
Each studentship will have a bursary of £13,726 per annum (pro-rata as a monthly payment) plus UK/EU Fees paid for a period of three years.
If you are an enthusiastic high achieving
student looking to undertake a PhD in a vibrant research environment,
then join us by applying for a full time bursary. The successful
applicants will undertake their research in our new Centre for Applied
Social Research (CeASR) working within Research Theme 3: ‘Sex, Gender, Identity, Power and Risk’
Researchers and potential PhD supervisors working this theme are:
Dr. Bridgette Rickett,
Dr. Sarah Kingston,
Dr Peter Branney,
Dr. Katy Day,
Dr. Natalia Gerodetti, Dr. Helen
Fawkner,
Dr Zoe Kolokotroni,
Dr. Kate Milnes and
Dr. Tamara Turner-Moore
PhD Studentship
applications are particularly welcome from students aiming to conduct
research that examines aims/research questions that fall within the
areas of
social science research and within the themes of sex. gender, power, identity and risk.
We are also interested in proposals that examine/explore the
exploitation, marginalization, victimization and potential
empowerment/risk reduction. Lastly, we would also be interested in
applications that have a focus on the intersections of gender, culture,
social class and race.
To discuss any ideas further please contact ‘Sex, Gender, Identity, Power and Risk’
theme leaders Dr. Bridgette Rickett (b.rickett@leedsmet.ac.uk) and Dr. Sarah Kingston (S.Kingston@leedmet.ac.uk)
Closing deadline – 7th June 2013
For further details and how to apply see:
http://www.leedsmet.ac.uk/research/research-bursaries.htm
Tuesday, 28 May 2013
Working Class Movement Library talks
Cazz Blaise - Worlds within worlds: punk ladies, riot grrrls and fanzine culture
Wednesday 29 May 2pm
This talk will discuss the role women played in the UK punk scene and the UK incarnation of the female focused, female dominated riot grrrl scene.
Wednesday 29 May 2pm
This talk will discuss the role women played in the UK punk scene and the UK incarnation of the female focused, female dominated riot grrrl scene.
Chris Burgess -
Bridging the Irwell
Wednesday 12 June 2pm
Chris's talk will highlight how the Unlocking Ideas project is making links between the Library and the People's History Museum. Results will be on display - from possible new Peterloo evidence to "horse burgers" in 1857.
Wednesday 12 June 2pm
Chris's talk will highlight how the Unlocking Ideas project is making links between the Library and the People's History Museum. Results will be on display - from possible new Peterloo evidence to "horse burgers" in 1857.
Natalie Bradbury - Woman's Outlook: a surprisingly modern magazine?
Wednesday 26 June 2pm
For nearly five decades from its origins in Manchester in 1919, Woman's Outlook was the voice of the Co-operative Women's Guild, the campaigning organisation which worked to raise the status of women both in the co-operative movement and in society. The talk will look at how the magazine encouraged women to get involved in campaigning for a better world.
Neil Dymond-Green -
Invisible Histories - keeping the memories alive
Wednesday 10 July 2pm
WCML's Invisible Histories project has collected fascinating memories of three Salford workplaces. Now hear how we're keeping these stories alive by working with local high school students to create new Radio Ballads in the tradition of Ewan MacColl.
Wednesday 10 July 2pm
WCML's Invisible Histories project has collected fascinating memories of three Salford workplaces. Now hear how we're keeping these stories alive by working with local high school students to create new Radio Ballads in the tradition of Ewan MacColl.
2. On Sunday 9 June at 3pm there is a benefit gig at Islington Mill in aid of the Library. Will Kaufman, who put on a bravura performance for us last year, has kindly agreed to do another show for us, covering a different aspect of Guthrie's life and work - "All you Jim Crow fascists!" - Woody Guthrie's freedom songs. Conventionally known for his championing of the poor white Dust Bowl migrants, Guthrie also left an extensive body of songs condemning Jim Crow segregation, lynching and race hatred.
All
who were there for Will's last show agreed that it was a terrific tour
de force - this event features completely different material so please
come along and support the Library while enjoying Will's informative
and entertaining style of ‘live documentary' presentation.
Islington Mill, James Street, Salford M3 5HW. Tickets on the door £10.
3. Our next free Library tour is on Wednesday 5 June 2pm - email
enquiries@wcml.org.uk if you'd like to book. The tour takes about an hour.
4.
Manchester Sound: The Massacre
is the finale to the Library Theatre Company's programme of
site-specific theatre experiences. This summer's production, at a
yet-to-be-announced central Manchester location, aims to bring the
changing face of protest in our radical city vividly to life - melding
the Peterloo Massacre of 1819 and the illegal rave parties of the late
80s acid house scene.
In
an underground club in Manchester, two groups of idealists meet. Both
are looking for utopia, or, at the very least, something like euphoria.
Both are being hounded by the law. And both are hoping for the night of
their lives. They just happen to come from different centuries...
The production runs from Saturday 8 June to Saturday 6 July. More information at
http://bit.ly/X75DxU
5. Anyone who missed
Owen Jones's packed-out Frow Lecture earlier in the month can now hear an audio recording of it via a link on our home page at
www.wcml.org.uk. It's a large download so if you have any problem making it work you're welcome to come into the Library and listen to it here.
Thursday, 16 May 2013
Grad Prog talks (22/5): the Market Street Mincer / Sex and the Shameless City
Location: Room 2.20, MediaCityUK (Salford Uni building)
Internal Speaker: Professor Ben Light (3.3.55pm)
This paper explores how the unashamed representations of the sexual desires of four female characters in
Shameless (Channel 4, 2004 - present), namely Monica Gallagher
(Annabelle Apsion), Fiona Gallagher (Anne-Marie Duff), Shelia Jackson
(Maggie O'Neil) and Karen Jackson (Rebecca Atkinson), are connected to
and cartographized through the fringe spaces of the Chatsworth estate.
Contemplating the ways in which the UK series moves away from high-end
US visions of slick surfaces, spaces and bodies, found, for example, in
series such as
Sex and the City (HBO, 1998-2004), the paper analyses the
social positions, dominant sexual desires and complex narrative
functions of these women, arguing that in the series, female desire is
unashamedly repositioned at the centre rather than at the peripheries
of the narrative.
Dr. Beth Johnson is a lecturer in Television and Film Studies at Keele University, UK. She is the author of various
extant publications in journals such as Angelaki and The Journal of Cultural Research
and her recent book chapters include ‘Realism, Real Sex and the
Experimental Film: Mediating New Erotics in Georges Bataille’s Story of
the Eye’ in Realism
and the Audiovisual Media (Palgrave Press: 2009, 135-151), and ‘Sex, Psychoanalysis and Sublimation in Dexter’ in Investigating Dexter: Cutting Edge Television (I.B.Tauris: 2010, 78-95). Beth’s forthcoming publications include a monograph on British
television auteur ‘Paul Abbott’ for The Television Series (Manchester University Press, forthcoming, 2013) and a co-authored book entitled
Exploring the Carnographic: Sex, Violence and Extremism in Global Culture to be published by
Palgrave Macmillan in 2014. Beth has recently co-edited a new collection entitled
Television, Sex and Society: Analyzing Contemporary Representations (Continuum Press, August 2012).
Internal Speaker: Professor Ben Light (3.3.55pm)
Appropriation, Participation and the Creation of Celebrity: Introducing Internet-Mediated Urban Eccentrics
This work,
undertaken in conduction with Helen Keegan (University of Salford)
concerns the potential, and processes of, the internet-mediated
construction and communication of urban eccentrics; ‘local characters’
who have traditionally been known to unconnected groups within a
geographic locale. Our work suggests that the internet has the
potential to connect these groups and generate notoriety for urban
eccentrics, transcending time and space. Despite literatures around
online fandom (Baym 2002) and micro-celebrity (Senft, 2008) it appears
that the relationships between digital media and urban eccentrics have
received very little academic attention. Our research is based on a
discourse analysis of the Facebook fan page associated with a
particular urban eccentric and other artifacts connected with them and
shared throughout the Internet. Drawing
upon Monaco’s (1978) concept of the Quasar, a category of celebrity, we
undertake a reading of an urban eccentric: the Market Street Mincer
(MSM) someone known for walking around Market Street in Manchester, UK
during 2001-2003. Monaco defines the Quasar by their unwillingness to
‘be’ a celebrity, that fact they have little control over their status
and that our interest is due to what we believe they are. In our case,
the MSM operates as an enigma, no-one knows for certain why he does
what he does and the extent to which he is willing to become a
celebrity and under what terms. For example, several Facebook posts
state that he walked to be spotted by a scout for a modelling agency.
If that is the case, the attention he has received is something very
different from that which he set out to gain. Thus, we need to think
about the concept of the Quasar, and their abilities to influence their
identities in the light of user generated content.
Guest Speaker: Beth Johnson (Keele University) (4-4.55pm)
Shameless: Situating
Sex Beyond the City
This paper explores how the unashamed representations of the sexual desires of four female characters in
Shameless (Channel 4, 2004 - present), namely Monica Gallagher
(Annabelle Apsion), Fiona Gallagher (Anne-Marie Duff), Shelia Jackson
(Maggie O'Neil) and Karen Jackson (Rebecca Atkinson), are connected to
and cartographized through the fringe spaces of the Chatsworth estate.
Contemplating the ways in which the UK series moves away from high-end
US visions of slick surfaces, spaces and bodies, found, for example, in
series such as
Sex and the City (HBO, 1998-2004), the paper analyses the
social positions, dominant sexual desires and complex narrative
functions of these women, arguing that in the series, female desire is
unashamedly repositioned at the centre rather than at the peripheries
of the narrative.Thursday, 9 May 2013
Thursday, 2 May 2013
Deborah Gabriel: "Ethnic and gender inequalities in postgraduate study STILL aren't being addressed"
Another broadsheet intervention from Salford PGR Deborah Gabriel:
"The lack of diversity within postgraduate study leads to a further lack of diversity in the academy. This feeds into the curriculum and has an impact on the student experience. Universities need to go beyond the inclusion of statements about ‘valuing diversity’ on their websites and in their glossy brochures."
Full article here: http://www.independent.co.uk/student/postgraduate/postgraduate-study/ethnic-and-gender-inequalities-in-postgraduate-study-still-arent-being-addressed-8599466.html?origin=internalSearch#
"The lack of diversity within postgraduate study leads to a further lack of diversity in the academy. This feeds into the curriculum and has an impact on the student experience. Universities need to go beyond the inclusion of statements about ‘valuing diversity’ on their websites and in their glossy brochures."
Full article here: http://www.independent.co.uk/student/postgraduate/postgraduate-study/ethnic-and-gender-inequalities-in-postgraduate-study-still-arent-being-addressed-8599466.html?origin=internalSearch#
Grad Prog talks this Weds (8 May): Studying TV News // Research and Writing for Students
MediaCity campus, Room 2.20. (Non-Salford students and PGRs can sign in at reception at 3 and at 4).
Internal presentation, 3.10-4pm
Dr Sharon Coen (Psychology)
The
talk will present results from a large comparative study on 'Media
Systems, Political Context and Informed Citizenship: an 11 Nations
study'.
The study consisted of a content analysis of (among others) TV
News and a survey on a large representative sample in each Nation
(Australia, Canada, Colombia, Greece, India, Italy, Japan, Korea,
Norway, UK and US). I am hoping to get some useful feedback concerning
the best way to present the wealth of information gathered.
Guest lecturer:
Dr Rob Edgar (York St John University), 4.10-5pm.
Theorising Practice and Writing for Education: Writing for an Audience
This
presentation will discuss the role of the academic in
writing specifically for a student audience. While debates persist over
the nature and importance of "pure" academic research, the issues of impact
and relevance are becoming ever more importance. And, in approaching these
issues, the functions of educational writing and and the role of practice in
research are revealed to be increasingly relevant, and vital, as forms of research.
Dr
Robert Edgar is Head of Postgraduate Film and Television Production at
York St John University. In this role he heads the MAs in Film
Production and Documentary Production and supervises PhD students,
increasingly in practice led theses. He is the author and co-author of
a number of text books for the AVA series in Film making and, with Salford's Kirsty Fairclough-Isaacs and Benjamin Halligan, co-edited The Music Documentary: Acid Rock to Electropop (Routledge, 2013).
Visit and Lecture from Nobel Laureate Muhammad Yunus on Saturday 18 May
On Saturday 18 May, Professor Muhammad Yunus, the “world’s banker to
the poor”, will visit Salford, giving colleagues, students and members
of the public the chance to speak with the inspiring world leader.
Muhammad Yunus is a Bangladeshi banker and economist widely credited for developing the concepts of microcredit and microfinance.
He is only the seventh person in history to have won the Nobel Peace Prize, the Presidential Medal of Freedom and the Congressional Gold Medal. This achievement places him in the company of Norman Borlaug, Martin Luther King Jr, Nelson Mandela, Elie Wiesel, Aung San Suu Kyi and Mother Teresa.
Yunus’ concept of micro-credit – small loans given to poor villagers in Bangladesh to help them buy livestock or fund an enterprise – has grown from $27 he loaned out of his own pocket into the Grameen Bank, which has loaned more than $25 billion to some 20 million borrowers around the world. Despite a lack of collateral or signed loan documents, 99 per cent of the loans have been paid back. The Grameen Bank provides services to more than 71,000 villages in Bangladesh alone through 2,226 branches and his programme now operates in more than 100 countries including the USA. The first Grameen branch in the UK will open soon.
At our 18 May summit, which will mark the announcement of Salford’s new Social Business Centre, Yunus will speak about the importance of social ventures that depart from purely profit-driven business models. He will also urge students and all those with entrepreneurial spirit to consider pursuing businesses motivated by social causes rather than profit alone. Yunus will be joined by number of distinguished guest speakers including Salford alumna Fay Selvan (CEO of the Big Life Group) and who will present ideas, solutions and case studies on the impact of social business creation on the lives and health of disadvantaged communities.
Colin McCallum, Executive Director of University Advancement, said: “Having Professor Yunus visit the University is a tremendous privilege and coup for us. He is one of the world’s most inspiring individuals and one of the original Global Elders, along with Nelson Mandela, Mary Robinson and Kofi Annan. His visit has sparked an interest among a number of colleagues to build on many activities already taking place across campus around the encouragement of social enterprise, social and community benefit and micro-finance research. Salford is a University that has always been firmly rooted in its local community, but with international reach. Muhammad Yunus exemplifies our mission and I hope his visit will serve to inspire us all.”
For more information and to register for this event on Saturday 18 May, please register at https://supporters.salford.ac.uk/MuhammadYunus.
Muhammad Yunus is a Bangladeshi banker and economist widely credited for developing the concepts of microcredit and microfinance.
He is only the seventh person in history to have won the Nobel Peace Prize, the Presidential Medal of Freedom and the Congressional Gold Medal. This achievement places him in the company of Norman Borlaug, Martin Luther King Jr, Nelson Mandela, Elie Wiesel, Aung San Suu Kyi and Mother Teresa.
Yunus’ concept of micro-credit – small loans given to poor villagers in Bangladesh to help them buy livestock or fund an enterprise – has grown from $27 he loaned out of his own pocket into the Grameen Bank, which has loaned more than $25 billion to some 20 million borrowers around the world. Despite a lack of collateral or signed loan documents, 99 per cent of the loans have been paid back. The Grameen Bank provides services to more than 71,000 villages in Bangladesh alone through 2,226 branches and his programme now operates in more than 100 countries including the USA. The first Grameen branch in the UK will open soon.
At our 18 May summit, which will mark the announcement of Salford’s new Social Business Centre, Yunus will speak about the importance of social ventures that depart from purely profit-driven business models. He will also urge students and all those with entrepreneurial spirit to consider pursuing businesses motivated by social causes rather than profit alone. Yunus will be joined by number of distinguished guest speakers including Salford alumna Fay Selvan (CEO of the Big Life Group) and who will present ideas, solutions and case studies on the impact of social business creation on the lives and health of disadvantaged communities.
Colin McCallum, Executive Director of University Advancement, said: “Having Professor Yunus visit the University is a tremendous privilege and coup for us. He is one of the world’s most inspiring individuals and one of the original Global Elders, along with Nelson Mandela, Mary Robinson and Kofi Annan. His visit has sparked an interest among a number of colleagues to build on many activities already taking place across campus around the encouragement of social enterprise, social and community benefit and micro-finance research. Salford is a University that has always been firmly rooted in its local community, but with international reach. Muhammad Yunus exemplifies our mission and I hope his visit will serve to inspire us all.”
For more information and to register for this event on Saturday 18 May, please register at https://supporters.salford.ac.uk/MuhammadYunus.
Art, Politics and the Pamphleteer
A
RadicalAesthetics/RadicalArt (RaRa) event
People’s History Museum, Manchester,
FRIDAY June 14th 2013
Art, Politics and the Pamphleteer
will
explore the history and relevance of the pamphlet for contemporary art
practice through presentations by speakers and performers. The one-day
event will coincide with a small display of selected pamphlets from the
PHM collection (curated by the RaRa
organisers) together with a selection from our ‘call for pamphlets’.
Radical Pamphlets
It
is written because there is something that one wants to saynow, and one
believes there is no other way of getting a hearing. Pamphlets may turn
on points of ethics or theology but they always have a clear
politicalimplication. A pamphlet may be written either for or against
somebody or something, but in essence it is always a protest.
George Orwell (1948) in
British Pamphleteers Volume 1, from the sixteenth century to the French Revolution
For
Orwell, the pamphlet is a polemical provocation. Through the 20thc and
beyond, artists have worked and acted provocatively and polemically
with text, images and performance, publishingwritings and producing
pamphlets and manifestoes, including the Futurists (1909), Surrealists
(1924),
Fluxus
(George Maciunas, 1963),
First Things First (Ken Garland 1964),
Mierle Laderman Ukeles (Manifesto for Maintenance Art
1969) and Stewart Home’s
Neoist Manifestos (1987). More recently, in 2009,
Monica Ross and fifteen others co-recited the
Universal Declaration of
Human Rights
on the Anniversary of The Peterloo Massacre at John Rylands Library Manchester and
the
Freee Art Collective have performed their manifestoes in a range of public settings.
The edited book (2011) by Danchev 100 Artists' Manifestos: From the Futurists to the Stuckists
(Penguin Modern Classics) demonstrates it as subject of current interest.
The
last decade has seen art’s increasing engagement with political and
social issues, whereby in some instances artists’ activities have
become indistinguishable from social activism (e.g. Wochenklauser) or other disciplinary functions (e.g. artist as ‘anthropologist’ as in Jeremy Deller’s
Folk Archive).The art community’s current preoccupation with
revolutionary movements and global politics is being addressed from
different perspectives. The format and traditions of the ‘radical
pamphlet’ may provide an alternative platform for artistic intervention
and provocation.
The
People’s History Museum (PHM) is a national research facility, archive
and accredited public museum, which contains unique collections of
documents and artefacts. The collection includes the British Labour
Party and Communist Party of Great Britain papers, extensive amateur
and documentary film holdings and the largest trade union and protest
banner collection in the world. The Museum suits our particular brief
of radicality in its focus on histories of radical collective action.
The RadicalAesthetics-RadicalArt
(RaRa) project was initiated in 2009 at Loughborough University (LU) under the auspices of the Politicized Practice Research Group (PPRG). The
RaRa project and its associated book series (with I.B. Tauris)
explores the meeting of contemporary art practice and interpretations
of radicality to promote debate, confront convention and formulate
alternative ways of thinking about art practice. Previous RaRa events
have included ‘DIY cultures’ and Radical Footage: Film and Dissent at Nottingham Contemporary.
Book here: http://store.lboro.ac.uk/browse/extra_info.asp?compid=1&modid=2&prodid=199&deptid=252&catid=72
Monday, 29 April 2013
PGR Scholarships at MMU in Art and Design
See http://www.jobs.ac.uk/job/AGJ477/art-and-design-studentship-opportunities/
and
http://www2.mmu.ac.uk/research/studentships/art-and-design/
and
http://www2.mmu.ac.uk/research/studentships/art-and-design/
Grad Prog talk: Mary Oliver - "Crossing the Virtual Divide" (1 May)
Wed 1 May, Rm 2.20 MediaCityUK, 3.10-4pm. All Welcome
Internal
Session: Professor Mary Oliver (University of Salford; Performance
Directorate)
Please take my
hand and talk to me: crossing the virtual divide with acts of empathy and
kindness
Touching as an
act of empathy and kindness has become demonized, perverse in our physically
disconnected technologically dependent lifestyles. Our hands are the tools with
which we communicate remotely, altering hand eye co-ordination capability, which
in turn impacts on our cognitive functions. We have adapted ourselves to these
machines and in doing so have become trapped in a communication system that is
alien to us as a warm, tactile, intuitive species. This paper is part an
exploration of why it is so difficult to change the HCI and part performance
research as I strive to create a new work using both physical touch and sensing
technologies.
Mary Oliver is
Reader in Digital Performance and head of the Performance Research Centre in the
School of Arts and Media. She has been a professional performer, writer and
video maker for over twenty years, performing internationally across the fields
of contemporary music, theatre, and dance. For the last decade she has focused
on bringing impossible performers to the live stage,primarily using her own
badly behaved Digital Double. She is leader of the ‘As Yet Impossible: in human
performance’ research project, which is examining the development of new
performance paradigms.
Wednesday, 24 April 2013
GUEST SPEAKER TALK // ANNA COLIN // ISLINGTON
MILL
Wednesday 1st May 6.30pm. FREE. First Floor
Common Room Space.
The next guest speaker to be part of our
'Intervention' talk series in collaboration with University of Salford is
independent curator Anna Colin. The talk will converge around the two projects
she is concurrently working on: an exhibition exploring Victorians' utilitarian
and socialist approaches to art on the one hand and an art school that places
emphasis on social practice. She will present her research in progress and
reflect on a set of historical and contemporary considerations around art as an
educational and socially meaningful tool.
Anna Colin works in London as an independent
curator. She is currently preparing a display at the Whitechapel Gallery,
following a fellowship with the Contemporary Art Society and the Harris Museum
in Preston. She is also involved in setting up Open School East, an art school
and communal space in Hackney, which will launch in September 2013. Previously
she was associate director of Betonsalon - Centre for Art and Research, Paris
(2011-2012) and curator at Gasworks, London (2007-2010).
For more information please contact shereen@islingtonmill.com
Monday, 22 April 2013
Salford PGR published in The Independent
Another fantastic piece of research in the public eye, by Deborah Gabriel:
http://www.independent.co.uk/student/news/selfempowerment-is-the-best-way-to-defeat-racism-in-academia-8582702.html
http://www.independent.co.uk/student/news/selfempowerment-is-the-best-way-to-defeat-racism-in-academia-8582702.html
Tuesday, 16 April 2013
Postgraduate Research Programme (Art and Design), 17 April
17th April 2013, MediaCity Room 2.20.
Agenda:
2:00 – 2:20
Practice based research
Rosie Miller
2:20 – 2:40
‘Playing History: Fostering the Understanding of the Past through Meaningful Gameplay’
Juan Hiriart (PGR)
2:40 – 3:00
Education in Museums
Alex McDonagh
(PGR)
Break
3:20 - 4:30
Research Impact Seminar
Professor Paul Haywood and Sam Ingleson
The next event will be held on the 1st May HT217 Centenary Building.
Professor Paul Sermon will run a seminar on ‘How to publish your research work?’
and Andrew Wootton will showcase the team’s most recent research project:
Engaging young people in design against crime. Detailed agenda will be circulated in due course.
Agenda:
2:00 – 2:20
Practice based research
Rosie Miller
2:20 – 2:40
‘Playing History: Fostering the Understanding of the Past through Meaningful Gameplay’
Juan Hiriart (PGR)
2:40 – 3:00Education in Museums
Alex McDonagh
(PGR)
Break
3:20 - 4:30
Research Impact Seminar
Professor Paul Haywood and Sam Ingleson
The next event will be held on the 1st May HT217 Centenary Building.
Professor Paul Sermon will run a seminar on ‘How to publish your research work?’
and Andrew Wootton will showcase the team’s most recent research project:
Engaging young people in design against crime. Detailed agenda will be circulated in due course.
Monday, 15 April 2013
WSWS at 15
David Walsh, of the WSWS, delivered a lecture on the Graduate Programme on contemporary film and the organisation have extended an invite to the below meeting:
The
Working Class and Socialism in a new revolutionary epoch
The Socialist Equality Party is proud to announce that David
North, chairman of the World Socialist Web Site international editorial board and
national chairman of the Socialist Equality Party in the United States, will
speak on May 5 at a public meeting in London on the political significance of
the site’s fifteenth anniversary.
North
is the author of numerous articles, essays and books on contemporary politics,
on the history of the Fourth International and on the political legacy of Leon
Trotsky.
In
the 15 years since the World
Socialist Web Site
(WSWS) began publication on February 14, 1998, it has established itself as the
most widely read and authoritative socialist publication in the world,
accessible in 20 different languages.
In the
run up to the London meeting there will be a series of regional meetings,
including one in Manchester,on the subject of the WSWS fifteenth
anniversary - see below for details.
Manchester:
Wednesday April 17
7 pm
Friends' Meeting House, Room 1
6 Mount St (rear of Manchester Central Library)
Manchester
M2 5NS
Wednesday April 17
7 pm
Friends' Meeting House, Room 1
6 Mount St (rear of Manchester Central Library)
Manchester
M2 5NS
Friday, 12 April 2013
Monday, 8 April 2013
Quietus review of Salford Sonic Fusion
http://thequietus.com/articles/11864-chris-cosey-harmonic-coaction-holly-herndon-salford-sonic-fusion-live-review
"A slowly undulating bass groan slowly gives way to a transitional tattoo of pulsing electronics and acres of dubbed out echo. If the piece is site specific, then this reflects a Salford far removed from that of the shining, Logan's Run dock regeneration of Media City UK (but that's ok, as no one's forcing us to make a digital choice between one or the other). This majestic sound is of an older Salford, with the oppressive bass weight of Satanic millstones."
Congrats to colleagues from the Music Department for an incredible event!
"A slowly undulating bass groan slowly gives way to a transitional tattoo of pulsing electronics and acres of dubbed out echo. If the piece is site specific, then this reflects a Salford far removed from that of the shining, Logan's Run dock regeneration of Media City UK (but that's ok, as no one's forcing us to make a digital choice between one or the other). This majestic sound is of an older Salford, with the oppressive bass weight of Satanic millstones."
Congrats to colleagues from the Music Department for an incredible event!
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