Morrissey once sang "There's more to life than books, you know / but not much more..." --- In an attempt to investigate this provocative hypothesis, I give you the unofficial blog for PGRs in the School of Arts and Media, University of Salford, and beyond. News / updates / images etc... please get in touch!
Sunday, 29 July 2012
Salford PG Summer School
Our thanks to everyone who attended the College of Arts and Social Sciences Postgraduate Summer School in MediaCityUK ---- students, friends and visitors, and staff (lecturing or otherwise)!
We'll be emailing out feedback sheets shortly for your comments and recommendations, in anticipation of the 2013 event!
Monday, 23 July 2012
Full programme: College of Arts and Social Sciences - PGR Summer School 2012
MediaCity Campus, 2nd Floor, Lecture Theatre 236
Programme:
Tuesday 24th July 2012
10.30-11.00 Welcome by Professor Ben Light,
Associate Dean Research & Innovation
11.00-11.30 Research Workshop: Dr. Pascal Venier, Mind Maping & Concept Mapping for Researchers
11.30-12.00 Research Workshop: Dr. Pascal Venier, Getting things done for Researchers
12.00-12.30 Professor Ben Light, Postgraduate Research Update
12.30-1.30 Lunch
1.30-2.00 Research Presentation: Dr. Tina Patel, Researching the Agenda - What To Do With Unwelcome Truths
2.30-3.00 Break
3.00-4.30 Research Panel: Joe Darlington, Laura Wilson & Erin Taylor, Literature, Film and Resistance
Wednesday 25th July 2012
10.30-11.00 Prof Jim Yip, Pro-Vice Chancellor: Research & Innovation
11.00-12.00 Research Workshop: Dr. Deborah Woodman, Survival Guide to doing a PhD
12.00-1.00 Lunch
1.00-2.30 Information Session: Fiona Christie, Student Life for Postgraduate Researchers
2.30-3.00 Break
3.00-3.45 Research Workshop: Victoria Moody, Developing Impact for Your Research
Thursday, 26th July
10.30-11.15 Research Workshop: Victoria Sheppard
11.15-12.00 Research Workshop: Frances Bell, Ethics
12.00-1.00 Lunch
1.00-2.30 Research Workshop: Janet Morana, Knowledge Exchange for Research
2.30-3.00 Break
3.00-3.30 Research Workshop: Germaine Loader, Obtaining Research Funding
3.30-4.00 Research Presentation: Dr. Ben Halligan, What is “Immaterial Labour”?
4.00-4.30 Research Presentation: Daniel Cookney, Dead and Buried: The Worker and Dubstep
4.30-5.00 Research Presentation: Dr. Phoebe Moore, Is precarity revolutionary?
Friday 27th July 2012
10.00-11.00 Professor Huw Morris
Pro Vice Chancellor: Academic & Executive Dean: College of Arts and Social Sciences
11.00-11.30 Research Workshop: Professor Ben Light, Structuring Thesis’
11.30-12.00 Research Workshop: Dr. Ben Halligan, Viva’s, Internal Evaluations and Interim Assessments
12.00-1.00 Lunch
1.00-1.30 Research Presentation: Jonathan Lord, Employment tribunals barrier to justice?
1.30-2.00 Research Presentation: Professor Ben Light, Vernacular creativity: doing graffiti with YouTube
2.00-2.30 Information Session: Anne Sherwin, Library Services for Postgraduate Researchers
2.30-3.00 Evaluation and Close
Manchester Uni workshop: (How) do we understand Capitalism? Reflections on critical methods
September 12-13, 2012 | University of Manchester
There is no consensus on what critical social science is, exactly. Largely it is defined as not orthodox economics or positivist social science. Rather than attempting to define what critical research is, this workshop investigates how we do critical research.
Using methods as a framework for critical analysis allow us to consider how we understand capitalism an alternative way of differentiating between forms of critical inquiry. Methods can be approached as a tool box: a series of techniques that reveal capitalism. In this case, capitalism is explored and understood using different tools of analysis that demonstrate how it emerged historically, how it changes over time, creates periods of stability and how it impacts people’s lives. Methods are also a way to format the world that make realities appear or disappear. In this case capitalism is performative, it is always engaged in experiment, a perpetually unfinished project; therefore, it is a highly adaptive and constantly mutating formation.
In short, methods are not neutral tools of analysis; they (re)create a particular view of capitalism.
This workshop seeks to be innovative in its content and format. Participants will discuss and debate how they ‘do’ research—either for their present project or life’s work—rather than give methods papers as such. The two days will cover different methods like participant observation, ethnography, archival, textual and discourse analysis, interviews (elite, semi-structured and random); as well as methodological approaches like: actor-network theory, reflexivity, critical empirical research, feminist methods, historical materialism, everyday and cultural economy.
Confirmed Participants: Yuval Millo (LSE), Nicola Smith (Birmingham), Chris May (Lancaster), Ben Rosamond (Copenhagen), Samuel Knafo (Sussex), Chris Rogers (York), Claes Belfrage (Liverpool), Dani Tepe (Sheffield)
Above all this event seeks to be a creative space to reflect, discuss and debate the role of methods or methodology in (your) critical research. If you are interested in attending please contact:j.montgomerie@manchester.ac.uk
Note: any UK PhD student (without institutional support) interested in attending please indicate this in your email and I will TRY to secure funds to cover your travel expenses.
Thursday, 19 July 2012
CfP: The Future, and Praxis of Decent Work
from Salford's Dr Moore-Carter:
The Future, and Praxis of Decent Work conference
14 – 15 February 2013
International Center for Development and Decent Work, Kassel University, Germany
www.icdd.uni-kassel.de
COST Action IS0902: Systemic Risks, Financial Crises and Credithttp://www.worldfinancialcrisis.eu/
British International Studies Association, International Political Economy Group
http://www.bisa-ipeg.org/
Call for papers.
The Financial and Economic Crisis: A Decent Work Response report prepared by the International Institute for Labour Studies and the Employment Sector and Policy Integration and Statistics Department Geneva in 2009 indicates that the Decent Work Agenda should provide a policy framework to stem crises by placing employment and social protection at the heart of ‘extraordinary fiscal stimulus measures’ which can both protect vulnerable people, and reactivate investment and demand in economies.
The International Labour Organisation’s World of Work Report 2012 forecasts a global unemployment rate of 6.1 per cent in 2012, with total world unemployment rising from 196 million in 2011 to 202 million in 2012. In this context, and with the rise in austerity measures which cannot guarantee growth but which have already triggered social disruption and harm, this conference will explore the concept of decent work and search for a praxis of decent work in all countries, all contexts, and for all people.
Guy Ryder, an experienced trade unionist, was elected as the ILO’s new Director General on 28th May 2012, to take office in September, and he has stated his commitment to prioritise people and the world of work (Ryder, 2012). In June 2012, India, Brazil and South African signed a long term Declaration of Intent in a number of areas including development and cooperation, and labour, which is explicitly designed to further the Decent Work Agenda, aiming toward creating jobs, guaranteeing rights at work, extending social protection and the promotion of social dialogue, with gender equality as a core objective. These types of initiatives indicate a continuation of the relevance of a concept that was coined by Juan Somavia, Director General 1999 – September 2012, but the global climate of strained governance continues to challenge the possibilities for decent work in developed and developing countries alike.
The ILO’s new Director General faces a Eurozone crisis, rising unemployment, a spate of emergency crisis-driven labour policy deregulation that has often not been passed with consent from relevant social partners, and the dramatic rise in precarity and nonstandard employment which impacts lives in all corners of the world. Several governments across the European Union, including Portugal, Spain, Hungary, and the United Kingdom, have recently passed emergency labour motions and reforms using the rationale of austerity to decentralise collective bargaining, disempower temporary workers, and increase working time for less remuneration, in many cases via Memoranda of Understanding passed in consultation and consent with the Troika (the European Commission, the European Central Bank and the IMF) (Clauwaert and Schomann, 2012). Nonetheless the ‘international consensus’ remains committed to securing ongoing decent work, and labour law is expected to provide the theatre for appropriate labour standards and rights despite labour law modernisation (Faioli, 2010).
The conference invites papers around these issues, which may involve questions around the workings and structure of the International Labour Organisation, the world of work in the current context of global recession, issues surrounding social unrest as linked to rising unemployment, and the nature of international labour standards. The concept of decent work is in crisis and this conference is a call for praxis around these issues. (Moore-Carter)
Invited and confirmed participants include delegates from the ICDD, the International Labour Organisation, and the Global Labour Institute. Conference will take place at the ICDD in Kassel.
Paper abstract deadline: 15 November 2012
Send 200 word abstracts, with complete affiliation details to: decentworkconference@gmail.com
Notification/programme: early December 2012
Paper deadline (if available): 1 February 2013
Organisers:
Dr Phoebe V Moore-Carter (Salford University, IPEG Convenor)
Dr Charles Dannreuther (COST and University of Leeds)
Christian Möllmann (ICDD Kassel University)
Remembering David Sanjek
(From Rick Sanjek)
Dear cousins, family and friends:
David Sanjek reached his
final resting place on Memorial Day weekend in Timberlake Cove in Plymouth VT,
as was his wish.
He had worked for eighteen summers at Camp Timberlake, mostly
as the director of the waterfront.
One of his campers who lives in New York, Colin Mitchell,
graciously carried David’s ashes to a gathering of staff and alumni, all friends
and colleagues of Dave’s.
In Colin’s words:
“I have
pulled together 131 photos from Dave's memorial. These have been gathered from
many of the people in attendance:
(Colin is
the big guy in the Aloha shirt in the pictures)
“The event
was broken into 3 parts, each captured in the pictures. The first part was
gathering all of the people who had come from near and far into a single place
(the Timberlake Trading Post). Many of us had not seen each other in 20+ years,
so there are many pictures of people greeting each other and catching up on each
other’s lives. This is the first 68 pictures. The next 16 pictures cover the
40 minute Quaker Meeting for Worship that was held in Dave's memory. The
remaining pictures document the days final activities, including placing Dave's
ashes to rest in the water in Timberlake cove, just off the docks where Dave ran
the waterfront for many years. We sang songs as a group and individually, and
some even went for a spontaneous swim with Dave after the ashes had settled.
The final picture is a nice shot of the cove where Dave rests, taken from the
waterfront docks.”
As you all know, Dave’s life was immersed in knowledge and
music and he spoke eloquently like a skilled musician immersed in the art of
language that came out in long improvised riffs of dramatic, cohesive and
symmetrical proportion.
As Irving Berlin once wrote, “The song is ended, but the
melody lingers on…”
For me, Dave’s melody will linger on forever!
Thursday, 12 July 2012
Salford Cultural Studies professor appointed leadership fellow for community research programme
Salford academic, George McKay, has been appointed to a three-year leadership fellowship by the Arts and Humanities Research Council (AHRC) for a programme focusing on community cultures and understanding.
George, Professor of Cultural Studies, and Director of the University’s Communication, Cultural and Media Studies Research Centre at MediaCityUK, will be joint academic lead of the Connected Communities research programme with Professor Keri Facer of the University of Bristol, in close collaboration with AHRC staff.
The programme aims to encourage the potential for communities to increase participation, prosperity, sustainability and health through improving connections between research, stakeholders and communities.
Professor McKay’s studies broadly encompass cultural politics, ranging from popular music to the cultures of social movements, and from festivals to gardening. His acclaimed 2011 book Radical Gardening: Politics, Idealism & Rebellion in the Garden was a ‘Book of the Year’ in the Independent on Sunday and his AHRC-funded book Shakin’ All Over: Popular Music and Disability is due for publication in 2013.
He is currently involved in a European jazz research programme, funded by Humanities in the European Research Area, and an AHRC project on community gardening, as well as being lead organiser of the 2012 International Association for the Study of Popular Music conference at MediaCityUK in September.
Professor McKay said: “To work centrally with the Connected Communities programme and its ever-widening constituency of scholars, community partners and creatives is a really wonderful opportunity. I’ve long been committed to working with community artists and social activists, writing with them as well as about them, and am hugely enthusiastic about learning more, and helping shape great new opportunities in research, knowledge exchange and engagement.”
As well as working with the AHRC on the future shape of the programme, Professor McKay’s fellowship includes a substantial element of personal research time, in which he will be working on projects around community music, disability arts and festival culture.
Vice-Chancellor, Professor Martin Hall, said: “Connected Communities is a great project that will have wide-reaching impact. I can think of no one better than George to play a leading role in this.”
Professor Mark Llewellyn, AHRC’s Director of Research, welcomed the appointment of the leadership fellows, saying: “These are key posts for the intellectual and strategic development of the Connected Communities programme. Professor McKay and Professor Facer bring a wealth of knowledge, expertise and experience to these roles and we look forward to working closely with them on the further development of the programme.”
Connected Communities is a cross-research council programme, led by AHRC in close partnership with the Economic and Social Research Council, Engineering and Physical Sciences Research Council, Medical Research Council and Natural Environment Research Council.
Further details of the Connected Communities programme are available at
http://www.ahrc.ac.uk/FundingOpportunities/Pages/connectedcommunities.aspx
The programme aims to encourage the potential for communities to increase participation, prosperity, sustainability and health through improving connections between research, stakeholders and communities.
Professor McKay’s studies broadly encompass cultural politics, ranging from popular music to the cultures of social movements, and from festivals to gardening. His acclaimed 2011 book Radical Gardening: Politics, Idealism & Rebellion in the Garden was a ‘Book of the Year’ in the Independent on Sunday and his AHRC-funded book Shakin’ All Over: Popular Music and Disability is due for publication in 2013.
Professor McKay said: “To work centrally with the Connected Communities programme and its ever-widening constituency of scholars, community partners and creatives is a really wonderful opportunity. I’ve long been committed to working with community artists and social activists, writing with them as well as about them, and am hugely enthusiastic about learning more, and helping shape great new opportunities in research, knowledge exchange and engagement.”
As well as working with the AHRC on the future shape of the programme, Professor McKay’s fellowship includes a substantial element of personal research time, in which he will be working on projects around community music, disability arts and festival culture.
Vice-Chancellor, Professor Martin Hall, said: “Connected Communities is a great project that will have wide-reaching impact. I can think of no one better than George to play a leading role in this.”
Professor Mark Llewellyn, AHRC’s Director of Research, welcomed the appointment of the leadership fellows, saying: “These are key posts for the intellectual and strategic development of the Connected Communities programme. Professor McKay and Professor Facer bring a wealth of knowledge, expertise and experience to these roles and we look forward to working closely with them on the further development of the programme.”
Connected Communities is a cross-research council programme, led by AHRC in close partnership with the Economic and Social Research Council, Engineering and Physical Sciences Research Council, Medical Research Council and Natural Environment Research Council.
Further details of the Connected Communities programme are available at
http://www.ahrc.ac.uk/FundingOpportunities/Pages/connectedcommunities.aspx
Friday, 6 July 2012
Salford noise academics see "Reverberations" published
"Reverberations: The Philosophy, Aesthetics and Politics of Noise", edited by Salford's Michael Goddard and Benjamin Halligan, and Paul Hegarty, has just been published by Continuum.
The book is cross-disciplinary and assembles a number of approaches to address and define, explore and apply noise across a variety of media. The book includes chapters from scholars of international standing (Brian Massumi, Felicity Colman), the anonymous GegenSichKollectiv, as well as up-and-coming writers. Salford PhD researcher and music journalist Dan Cookney's chapter ("Sshhhh") explores the noises of library spaces, drawing on several experimental excursions into civic arenas of silence, and Halligan's chapter ("'As If From the Sky': Divine and Secular Dramaturgies of Noise) examines and theorises the soundscapes of Hollywood 70s science fictions, of the poet Gerard Manley Hopkins, and of playwrights Beckett and Chekhov. The book represents a radical intervention in fields across the humanities and social sciences.
Table of contents available here
UK amazon via here; US amazon via here (available as soft cover, hardback, kindle version)
The books is the first of two collections arising from the international conference Goddard and Halligan convened at Salford in Summer 2010, "Bigger than Words, Wider than Pictures: Noise, Affect, Politics". "Resonances: Noise and Music" is forthcoming from Continuum, in 2013, edited by Goddard, Halligan and Salford's Nicola Spelman.
[Salford noise conference: Hegarty, noise practitioner Mattin, Halligan, Stephen Lawrie of The Telescopes, Stuart Braithwaite of Mogwai, Prof Sheila Whiteley. Below: noise conference gig.]
"With a fantastic range of topics, the editors have produced a strong collection that extends well beyond sound studies. The collection includes a wide range of writers, and offers just what we need in order to understand contemporary media and aesthetics: theoretical problematisation. Start from noise, with Reverberations, and find brilliant cartographies of noise in aesthetics, the social, and philosophy." - Dr Jussi Parikka, Reader in Media and Design at Winchester School of Art, author of Digital Contagions and Insect Media
Johnny Marr to be given honorary degree by Salford
He found fame with legendary Manchester band The Smiths, and now Johnny Marr’s outstanding achievements in a music career spanning four decades have been recognised with the granting of an honorary Salford degree.
The influential guitarist and songwriter, whose distinctive sound has been credited with changing the face of British guitar music and inspiring a generation of indie bands across the world, will receive a doctorate of arts on Thursday 19 July as part of our graduation ceremonies.
Born in Ardwick in 1963, Marr taught himself the guitar at 11 and as a teenager started writing songs and playing in various bands in Manchester. At 17 he decided to form a band and approached Steven Morrissey from Stretford, a singer four years his senior and a well known figure around the Manchester punk scene.
The pair christened their new band The Smiths and a new chapter in pop music history began. From 1982 until 1987 The Smiths embarked on a career of unforgettable shows and record releases and, through Marr’s original and dazzling musicality and Morrissey’s unique outsider world view, they redefined British guitar pop.
After disbanding The Smiths, Marr started a prolific career as a co-writer and collaborator with a number of hugely significant groups and musicians such as Talking Heads, The The, Bryan Ferry, Beck and Electronic, as well as discovering new local talent Oasis. He has been cited as an influence by many more bands, including Blur, Radiohead and Manic Street Preachers.
In 2005 he joined Modest Mouse and achieved his first US number one album, before moving back to the UK in 2010 to join The Cribs for their first UK top ten LP Ignore The Ignorant. In 2011 Marr scored his first film soundtrack called The Big Bang, and then recorded the soundtrack to the film Inception with legendary composer Hans Zimmer.
He joined Salford in 2007 as a visiting professor in popular music. His regular masterclasses have helped to inspire a new generation of musicians joining a long line of successful bands to have studied at the University.
Marr said: “I’m very pleased to be given an honorary degree by Salford University. I've enjoyed working with the students in my capacity as visiting professor and hopefully we can find some more opportunities for creative work in the future.”
Tuesday, 3 July 2012
PhD scholarship available at Salford
Universities as Cultural Intermediaries
University of Salford - School of the Built Environment (SOBE),
Centre for Sustainable Urban and Regional Futures (SURF) (www.surf.salford.ac.uk)
Bursary: £13,590 p.a. (plus full payment of UK/EU Tuition Fees)
Full: http://www.jobs.ac.uk/job/AER166/phd-studentship/
Bursary: £13,590 p.a. (plus full payment of UK/EU Tuition Fees)
Full: http://www.jobs.ac.uk/job/AER166/phd-studentship/
Thursday, 28 June 2012
IASPM conference at Salford: draft programme published!
Albion … Chocolate City … Highway 61 … Route 66 … Wonderland … Strawberry Fields … the Crossroads … Beale Street … Haight Ashbury … Music City U.S.A. ... Merseybeats ... Madchester ... Glastonbury
Popular music has always been affiliated with physical places, both literal and imaginary. It is one of the ways that the inhabitants of those locations define both their residence and themselves. To borrow the components of the title of Benedict Anderson’s widely read book, one of the most telling ways communities imagine themselves is acoustically. An indissoluble connection exists between musical expression and geography, both the landscape of actual locale and that conjured up by the mind. The persistent academic interest in the notion of scenes reflects this set of circumstances. So too does the research that examines how the state defines itself sonically and, in some cases, pursues its objectives with the assistance of acoustic apparatus, as in the torture of prisoners by a barrage of undesired sound. In addition, there are those composers, performers, compositions and performance practices that are thought to be quintessential expressions of states, peoples or defined populations.
This conference intends to examine this set of propositions across any possible array of musical forms, cultural practices, physical locations and imagined environments. It wishes to interrogate the ways in which geography and musicology can be affiliated.
Those “imagined communities” can include those that form specifically about music (fan bases, subcultures, on-line communities) as well as those that form through the formal elements of compositions (the use of “we” or “us” in lyrical constructions or the composition of anthems). Examples for study will, we hope, be drawn across an array of media as well, so that the use of media not only in live and recorded performance but also in any other particular media – film, radio, television, digital space – can be considered. It is hoped as well that while the invited speakers and plenary members may well address Anglo-American circumstances, the presentations will consider any and all portions of the globe as well as the digital ether.
Draft programme here
Those “imagined communities” can include those that form specifically about music (fan bases, subcultures, on-line communities) as well as those that form through the formal elements of compositions (the use of “we” or “us” in lyrical constructions or the composition of anthems). Examples for study will, we hope, be drawn across an array of media as well, so that the use of media not only in live and recorded performance but also in any other particular media – film, radio, television, digital space – can be considered. It is hoped as well that while the invited speakers and plenary members may well address Anglo-American circumstances, the presentations will consider any and all portions of the globe as well as the digital ether.
Draft programme here
CFP: Language/Cinema (University of Leeds)
LANGUAGE/CINEMA
An Interdisciplinary Postgraduate
Conference
University of Leeds
December 7- 8th, 2012
Call for Proposals
Deadline: August 1st, 2012
Film theorist Christian Metz once stated that: ‘The image is
like a word, the sequence is like a sentence, for a sequence is made up of
images like a sentence of words’. Though ground-breaking in its day, such an
understanding has been contested on the basis that a linguistically-oriented
semiology cannot adequately account for all the properties of the film medium.
For instance, Gilles Deleuze rejects the notion of a language of cinema,
referring instead to a language in cinema.
Whether in the film form or content, language remains a
crucial issue in cinema. It is fundamental in the construction of an original
story and script, in particular in literary adaptations. Language is the
substance of the dialogue, be it spoken or conveyed in the form of intertitles.
Language is also a visual component of the film, for example, in diegetic signs
and billboards, or extradiegetic subtitles. Additionally, the use of language
can be the very subject matter of a film, in a transnational world where
multiculturalism is constantly reflected on screen.
The association of cinema with language offers an engagement
with the text that both challenges and enriches the critique of the film medium
in a variety of ways. This conference seeks to expand and explore the theme of
language of, in and beyond cinema. This is a call for postgraduates to submit
proposals around topics which include, but are not restricted to:
- · Cinema as language
- · Film and the written word
- · Literary and theatrical adaptations
- · Verbal and body language
- · Language and New Media technology
- · Regional dialects and identities
- · Endangered/minority languages and cinema
- · Language and intertextuality
- · Intertitles in silent and sound cinema
- · Subtitles, dubbing and the question of translation
- · Language and cosmopolitanism
- · Language and national identity
Filmmakers and practitioners are also welcome to showcase their
work at the conference.
Please send a 300 word abstract along with a 150 word biography
to cwcinterns@gmail.com by August 1st,
2012. Selected participants will be informed by September 1st. Please feel
free to circulate this Call for Papers to your contacts. We look forward to
welcoming you to Leeds in December 2012.
This Conference is supported by:
Mixed Cinema Network (Leeds, York, Sheffield)
WUN (Worldwide Universities Network)
BAFTSS (British Association for Film, Television and Screen
Studies)
Thursday, 21 June 2012
Fifty Years of A Clockwork Orange: full programme
What's it going to be then, eh? A Clockwork Orange is 50. Join us for three
horrorshow days of talks, lectures, debates, music and films, 28-30 June
Full conference tickets are £70. Concessions are £40 and day tickets are £25: please contact us directly on info@anthonyburgess.org or 0161 235 0776 to purchase these, or ask us anything about the arrangements.
Cornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
This acclaimed and wonderfully unusual documentary looks at the cultural and historical contexts and philosophy underpinning A Clockwork Orange, featuring new archive material of both Stanley Kubrick and Anthony Burgess. Co-written by critic Michel Ciment, the film examines the rise of youth rebellion in the 1960s, anti-authoritarianism, urban insecurity and the popularity of behavioural therapy.
International Anthony Burgess Foundation
Free, booking essential: contact info@anthonyburgess.org
The UK premiere of Anthony Burgess’s music and songs for A Clockwork Orange, this will be a unique opportunity to experience Burgess’s music-hall ultraviolence. Includes a performance of a new piece by Kevin Malone, A Clockwork Operetta, commissioned by the Burgess Foundation
International Anthony Burgess Foundation
Part of the Fifty Years of A Clockwork Orange conference: contact info@anthonyburgess.org or 0161 235 0776 for details
Jonathon Green has been described as the greatest British lexicographer since Dr Johnson. His many books include the monumental Green’s Dictionary of Slang, Cassell’s Dictionary of Insulting Quotations, and Getting Off at Gateshead: An A–Z of Filth. Join us for a horrorshow talk and discussion on Anthony Burgess’s language, slang and obscenity in A Clockwork Orange.
Cornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
After forty years of controversy, Stanley Kubrick’s now classic adaptation of Anthony Burgess’s novel returns in all its glory to the big screen. Set in a warped futuristic Britain, charismatic delinquent and sociopath Alex is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society’s crime problem… but not all goes to plan. This is an incredibly rare opportunity to revisit Burgess and Kubrick’s possibly prescient vision of a violent dystopian future.
International Anthony Burgess Foundation
Part of the Fifty Years of A Clockwork Orange conference: contact info@anthonyburgess.org or 0161 235 0776 for details
An acknowledged expert on the history of cinema, Peter Kramer has written extensively on silent films, Buster Keaton, Hollywood and the Germans, Audrey Hepburn, Disney, Steven Spielberg, and Stanley Kubrick. He is the author of the recent book-length study A Clockwork Orange – Controversies and will speak with his characteristic erudition and infectious enthusiasm on Burgess, Kubrick and youth culture.
Cornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
Featuring a collection of stars from New York’s The Factory studio, Vinyl was Andy Warhol’s earlier and much less well known adaptation of Anthony Burgess’s A Clockwork Orange. A fascinating companion piece to Stanley Kubrick’s now legendary take on the novel, this is an ultra rare screening of this uncompromising and experimental 16mm work.
Full programme:
http://www.anthonyburgess.org/mediablog/fifty-years-of-a-clockwork-orange-full-programme?utm_source=AnthonyBurgessmailinglist&utm_campaign=68e382776b-Events_late_june&utm_medium=email
Speakers include Salford's Joe Darlington and Dr Benjamin Halligan
Full conference tickets are £70. Concessions are £40 and day tickets are £25: please contact us directly on info@anthonyburgess.org or 0161 235 0776 to purchase these, or ask us anything about the arrangements.
Screening: Once Upon a Time... A Clockwork Orange (2011)
27 June, 6.30pmCornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
This acclaimed and wonderfully unusual documentary looks at the cultural and historical contexts and philosophy underpinning A Clockwork Orange, featuring new archive material of both Stanley Kubrick and Anthony Burgess. Co-written by critic Michel Ciment, the film examines the rise of youth rebellion in the 1960s, anti-authoritarianism, urban insecurity and the popularity of behavioural therapy.
Concert: Music for A Clockwork Orange
28 June 6.30pmInternational Anthony Burgess Foundation
Free, booking essential: contact info@anthonyburgess.org
The UK premiere of Anthony Burgess’s music and songs for A Clockwork Orange, this will be a unique opportunity to experience Burgess’s music-hall ultraviolence. Includes a performance of a new piece by Kevin Malone, A Clockwork Operetta, commissioned by the Burgess Foundation
Lecture: Jonathon Green, Mister Slang
29 June, 5pmInternational Anthony Burgess Foundation
Part of the Fifty Years of A Clockwork Orange conference: contact info@anthonyburgess.org or 0161 235 0776 for details
Jonathon Green has been described as the greatest British lexicographer since Dr Johnson. His many books include the monumental Green’s Dictionary of Slang, Cassell’s Dictionary of Insulting Quotations, and Getting Off at Gateshead: An A–Z of Filth. Join us for a horrorshow talk and discussion on Anthony Burgess’s language, slang and obscenity in A Clockwork Orange.
Screening: A Clockwork Orange (1971)
29 June, 6.30pmCornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
After forty years of controversy, Stanley Kubrick’s now classic adaptation of Anthony Burgess’s novel returns in all its glory to the big screen. Set in a warped futuristic Britain, charismatic delinquent and sociopath Alex is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society’s crime problem… but not all goes to plan. This is an incredibly rare opportunity to revisit Burgess and Kubrick’s possibly prescient vision of a violent dystopian future.
Lecture: Peter Kramer - Is it some devil that crawls inside of you?
30 June, 5pmInternational Anthony Burgess Foundation
Part of the Fifty Years of A Clockwork Orange conference: contact info@anthonyburgess.org or 0161 235 0776 for details
An acknowledged expert on the history of cinema, Peter Kramer has written extensively on silent films, Buster Keaton, Hollywood and the Germans, Audrey Hepburn, Disney, Steven Spielberg, and Stanley Kubrick. He is the author of the recent book-length study A Clockwork Orange – Controversies and will speak with his characteristic erudition and infectious enthusiasm on Burgess, Kubrick and youth culture.
Screening: Vinyl (1965)
30 June, 6.20pmCornerhouse
www.cornerhouse.org for tickets; discounts for conference delegates
Featuring a collection of stars from New York’s The Factory studio, Vinyl was Andy Warhol’s earlier and much less well known adaptation of Anthony Burgess’s A Clockwork Orange. A fascinating companion piece to Stanley Kubrick’s now legendary take on the novel, this is an ultra rare screening of this uncompromising and experimental 16mm work.
Full programme:
http://www.anthonyburgess.org/mediablog/fifty-years-of-a-clockwork-orange-full-programme?utm_source=AnthonyBurgessmailinglist&utm_campaign=68e382776b-Events_late_june&utm_medium=email
Speakers include Salford's Joe Darlington and Dr Benjamin Halligan
Monday, 18 June 2012
Salford symposium: Translating Hungarian Histories
We are delighted to announce the provisional programme for our international
symposium, Translating European Histories, taking place on Monday 2nd July
(please see below and attached).
Do e-mail Szilvi (s.naray-davey@salford.ac.uk) and Ursula (u.k.hurley@salford.ac.uk) to reserve your FREE place!
Please forward to anyone else who may be interested - especially postgraduate students.
We look forward to seeing you on the day.
Szilvi and Ursula
Translating European Histories
A one-day symposium supported by the Jean Monnet Centre of Excellence
Monday, 2nd July 2012
Provisional Programme
Venue: University of Salford, Peel Park campus. Room to be confirmed.
9:30 onwards Registration and coffee (a light breakfast of pastries and sweet treats will be offered)
10:15 Welcome and Introduction
10:30 Keynote Speaker: György Dragomán, Hungarian novelist, author of A fehér király (The White King)
11:30 Coffee
11:40 Panel 1 Chaired by Szilvi Naray-Davey, University of Salford
Dr. Márta Minier, University of Glamorgan, “Tradition Prepared Her. Change Will Define Her”: Translating History into Bio- Docudrama
Dr. Andrew Armstrong, The University of the West Indies, Fictionalising the Historical Dimensions of Blackness in Europe: The case of Caryl Phillips’s Foreigners
Professor Brenda Cooper, University of Manchester, African and Shared Personhood Choreographed in Dancing Words
1:00- 2:00 LUNCH (As we are not charging an attendance fee we hope that you don’t mind purchasing your own lunch from the campus café.)
2:00 Creative interlude
Introduced by Jenny Dutton, postgraduate student (MA Creative Writing: Innovation and Experiment)
Leanne Bridgewater, Homophonic Translations
Anna T. Szabó, Poetry reading in the original Hungarian followed by the English Translation
2:30 Panel 2 chaired by Dr. Ursula Hurley, University of Salford
Dr. Alan Williams/Brendan Williams, School of Music, Media and Performance, The University of Salford, On Memory in Centre/Periphery (with reference to a performance on cimbalom alongside arranged soundscape)
Szilvi Naray-Davey, School of Humanities, Languages and Social Sciences, The University of Salford, Between the words? The influence of performance on translating from source text to target text in contemporary Hungarian drama.
Dr. Judy Kendall, School of Humanities, Languages and Social Sciences, The University of Salford, Collaborative and creative translation processes in poetry: difficulties and solutions
3.50 Concluding remarks
Thanks to funding from the Jean Monnet Centre of Excellence, this symposium is free to attend. www.manchester.ac.uk/jeanmonnet
Do e-mail Szilvi (s.naray-davey@salford.ac.uk) and Ursula (u.k.hurley@salford.ac.uk) to reserve your FREE place!
Please forward to anyone else who may be interested - especially postgraduate students.
We look forward to seeing you on the day.
Szilvi and Ursula
Translating European Histories
A one-day symposium supported by the Jean Monnet Centre of Excellence
Monday, 2nd July 2012
Provisional Programme
Venue: University of Salford, Peel Park campus. Room to be confirmed.
9:30 onwards Registration and coffee (a light breakfast of pastries and sweet treats will be offered)
10:15 Welcome and Introduction
10:30 Keynote Speaker: György Dragomán, Hungarian novelist, author of A fehér király (The White King)
11:30 Coffee
11:40 Panel 1 Chaired by Szilvi Naray-Davey, University of Salford
Dr. Márta Minier, University of Glamorgan, “Tradition Prepared Her. Change Will Define Her”: Translating History into Bio- Docudrama
Dr. Andrew Armstrong, The University of the West Indies, Fictionalising the Historical Dimensions of Blackness in Europe: The case of Caryl Phillips’s Foreigners
Professor Brenda Cooper, University of Manchester, African and Shared Personhood Choreographed in Dancing Words
1:00- 2:00 LUNCH (As we are not charging an attendance fee we hope that you don’t mind purchasing your own lunch from the campus café.)
2:00 Creative interlude
Introduced by Jenny Dutton, postgraduate student (MA Creative Writing: Innovation and Experiment)
Leanne Bridgewater, Homophonic Translations
Anna T. Szabó, Poetry reading in the original Hungarian followed by the English Translation
2:30 Panel 2 chaired by Dr. Ursula Hurley, University of Salford
Dr. Alan Williams/Brendan Williams, School of Music, Media and Performance, The University of Salford, On Memory in Centre/Periphery (with reference to a performance on cimbalom alongside arranged soundscape)
Szilvi Naray-Davey, School of Humanities, Languages and Social Sciences, The University of Salford, Between the words? The influence of performance on translating from source text to target text in contemporary Hungarian drama.
Dr. Judy Kendall, School of Humanities, Languages and Social Sciences, The University of Salford, Collaborative and creative translation processes in poetry: difficulties and solutions
3.50 Concluding remarks
Thanks to funding from the Jean Monnet Centre of Excellence, this symposium is free to attend. www.manchester.ac.uk/jeanmonnet
Thursday, 14 June 2012
Everette N'dlovu conference report: Convergence, Engagement and Power
Never in my
academic history have I seen media convergence raise so much interest among
researchers -- as was shown in the Convergence, Engagement and Power
6th Annual PhD Conference, which was held at The Institute of
Communications Studies, in Leeds, on the 24th of May 2012.
This PhD
students-led initiative embarked on an intensive academic debate concerning the role
of media convergence in the democratisation of the globe. The conference papers
scrutinised the role of new media technologies and particularly those facilitated
by the Internet in empowering citizens to challenge dominant hegemony. The
conference critically examined the role of popular social media interactive
platforms which have permeated every aspect of everyday life and which are
credited with major political changes that have taken place in recent times. These are, for example The Arab Spring uprising and the Occupy Movements, which were replicated
in Nigeria, London and Wall Street.
The
participants gave a detailed analysis of the extent to which publics,
through their engagement with new technology and convergent media, influence or challenge the political, corporate, and social power structures
within society.
These
technologies are seen by academic like Hamilton (2000) as technologies of
democracy and liberation in which the user is at the same time the producer of
the media, and has access to multiple platforms with which to receive and
disseminate information in a de-professionalised, de-institutionalised and
de-capitalised but indeed highly
politicised (my emphasis) environment.
They
critically questioned claims made about the effectiveness of new technologies
in enabling the viability of populist political movements. Fascination about
the creations and sustenance of alternative media channels, and the dissemination of information, with ideas and political expressions unhindered, was
given an academic litmus test and returned many otherwise taken-for-granted conclusions
back on the spotlight. The academics were left asking if the authority,
legitimacy and hegemony of the ruling elite are threatened by the convergent
media.
This
conference had presentations from panels of PhD researchers from all over the
world, showcasing their research and generating questions and answer
sessions. What emerged from all the papers was
the interest in the role of modern communication technologies in giving the
demos
(people) cratos
(power), in what the world calls democracy.
In the phrase of Abraham Lincoln, democracy is a government "of the people, by
the people, and for the people" (Young 1996).Salford CFP: Rhythm Changes
Call for Papers
Rhythm Changes II: Rethinking Jazz Cultures
11-14 April 2013, Media City UK/University of Salford
An international conference hosted by the Rhythm Changes research project at the University of Salford.
Keynote Speakers
E. Taylor Atkins, Northern Illinois University
David Ake, University of Nevada, Reno
‘From its beginnings, jazz has presented a somewhat contradictory social world: Jazz musicians have worked diligently to tear down old boundaries, but they have just as resolutely constructed new ones; jazz provided one of the first locations of successful interracial cooperation in America, yet it has also served to perpetuate negative stereotypes and to incite racial unrest.’
Friday, 8 June 2012
Workshop: Approaching publishers - a guide for academic authors
The workshop is taking place on Tuesday 12 June from 2 – 4pm in Gilbert Room 2, and is led by Anthony Haynes who has extensive experience in publishing.
It is part of the VC Early Career Researcher’s Programme, but there are some additional spaces available for other researchers who would be interested in attending. Please could participants email me (v.m.sheppard@salford.ac.uk) by Monday 11 June to confirm a place.
The workshop is aimed at anyone interested in finding out more about academic publishing. It is open to all disciplines, but the focus is particulary centred on book publishing. Please see below for more details.
Anthony Haynes is Director of The Professional and Higher Partnership Ltd. He teaches academic authorship for the University of Tartu (Estonia) and is Visiting Professor at Hiroshima University. He also provides mentoring on writing development for researchers at the universities of Cambridge and Essex. Anthony’s publications include Writing Successful Textbooks (A&C Black, 2001) and Writing Successful Academic Books (CUP, 2010).
Monday, 4 June 2012
Grad Prog talks this Weds (6/June)
Adelphi House, 2nd floor lecture theatre:
Internal Speaker: Dr Michael Goddard. 3.10 -
4pm
A Deleuzian 21st Century?: Deleuze and Contemporary Media
and Cultural Research
Of any of the post-structuralist theorists associated
with the ‘68 generation (Foucualt, Derrida, Lyotard etc), Deleuze’s work is
perhaps the most contemporary with the present. In the 1970s Foucault said
“perhaps the [20th] Century will become known as Deleuzian” but, in fact,
Deleuze’s work, especially in an Anglo context, has had something of a delayed
impact. It is only now that this work is beginning to take root in the academy
while still enjoying the popularity it has had for decades among art students,
postgraduates, autodidacts and range of academic outsiders. So perhaps it is the
21st Century that is becoming Deleuzian.
Rather than the impossible presentation of Deleuze’s work
in its entirety, this seminar will give a sketch of its take-ups at various
times and in various contexts and focus on its use value for media and cultural
research. It will suggest some useful paths into Deleuze’s work via key
interviews and short texts as well as suggestions for further reading, and
especially deal with those aspects of his work which engage directly or
indirectly with questions of media and culture, culminating in an opening to his
work on cinema.
External Speaker: Dr Andy Robinson. 4pm -
5pm
(Host: Dr Phoebe Moore-Carter)
Dr. Andrew Robinson is a critical theorist and activist
working on a range of topics around social movements, radical theory, oppressive
discourse, global power-structures and everyday life. He is co-author of
Power, Conflict and Resistance in the Contemporary World, which applies
Deleuzian theory to the analysis of social movement networks, reactive networks
and the world-system. He has two dozen published articles and papers including
“Symptoms of a New Politics: Networks, Minoritarianism and the Social Symptom in
Zizek, Deleuze and Guattari”, “Living in Smooth Space: Deleuze, Spivak and the
Subaltern”, and pieces on Gramsci, Zizek, Laclau, Virilio, Negri, Sartre,
post-left anarchy, global justice, the Zapatistas, anarchist theories of war,
social movements in Manipur, revolutionary subjectivity, US foreign policy, and
global exclusion.
Time and Dialogism in Deleuzian Theory
This paper will examine the Deleuzian theory of time,
developed in Deleuze’s books on Bergson and Cinema, with a focus on the themes
of dialogue and the Event. It will begin by summarising Deleuze’s concepts of
past, present and future. It will explain how each perspective is differentiated
as a sensorimotor zone constructed through attention to life, providing a
particular zone of resonance unique to each person. It will also explain how
Deleuze proposes to understand possibilities for dialogue between such zones
through the Bergsonian idea of intuition. It will also discuss how the event is
seen to interrupt monological sequences of time. Finally, it will explore the
idea of “absolute deterritorialisation” and the relevance of Deleuze’s theory of
time for social transformation.
Wednesday, 23 May 2012
Monday, 21 May 2012
MMP Grad Prog this Weds: TALK RADIO //// PUSSY RIOT
Two talks this Weds (23 May) ---- the first dealing with ideas and
concepts of audience in popular media, the second with popular music and
dissent. Full info below.
Internal speaker: 3.10 - 4. External speaker 4.10 - 5pm.
Second floor lecture theatre, Adelphi House.
Everyone welcome! King's Arms after too for refreshments!
University of Salford/University of South Australia
Since Horton and Wohl’s recognition of the para-social
relationship, there has been an interest in understanding audiences beyond
commodification models. But while the relationship has long been named, little
is understood about the process from ‘inside’ the presenter experience: what
audiences mean to presenters, how the relationship is constructed and becomes
real in the absence of face-to-face contact and when, for the most part, the
presenter can only know the audience as an abstraction or a
projection.

Internal speaker: 3.10 - 4. External speaker 4.10 - 5pm.
Second floor lecture theatre, Adelphi House.
Everyone welcome! King's Arms after too for refreshments!
Internal Speaker:
“I know exactly who they are”: Radio Presenters’
Conceptions of Audience
Helen WolfendenUniversity of Salford/University of South Australia
Since Horton and Wohl’s recognition of the para-social
relationship, there has been an interest in understanding audiences beyond
commodification models. But while the relationship has long been named, little
is understood about the process from ‘inside’ the presenter experience: what
audiences mean to presenters, how the relationship is constructed and becomes
real in the absence of face-to-face contact and when, for the most part, the
presenter can only know the audience as an abstraction or a
projection.
This paper will explore the way Australian Broadcasting
Corporation (ABC) talk radio presenters construct their audience as a dialogue
partner, and the way that the on-air self is managed, in line with the corporate
expectations of their employer, to achieve the appropriate symbolic indicators
of friendship, sympathy, companionship, disclosure and intimacy. The findings
are based on interviews with 14 leading ABC radio presenters, their producers,
and trainers and associates.
External Speaker:
Yngvar B.
Steinholt
Tromso
University, Norway
Rock, Church and State in Putin’s Russia
Rock, Church and State in Putin’s Russia
Following the Ukrainian Orange Revolution in
the mid-2000s, Russian authorities radically changed their attitudes towards
rock music. Both the Kremlin and the Russian Orthodox Church met with Russia’s
major rock bands, offering cooperation and support. The Russian Orthodox Church
strove to renew itself and maintain its appeal to younger generations, while
seeking new allies in their fight for morality and cultural hegemony. The
Kremlin understood the importance of ensuring the loyalty of rock stars and
launched its answer to Blair’s “Cool Britannia”. Today, one presidental election
on, it appears that the effect of these initiatives is rapidly fading. Actions
such as those of the art collective Voina or the feminist punk collective Pussy
Riot have exposed the true colours of “cool” church and government officials.
The increasing pressure on artists to praise the authorities has provoked some
daring reactions, to which authorities have answered hard-handedly. Is artistic
freedom in Russia being replaced with a choice of praise or
prison?

Yngvar B. Steinholt is Associate Professor
in Russian Literature and Culture Studies, Tromso University, Norway. He has
published a book and several articles on popular music in the Soviet Union and
Post-Soviet Russia. Currently he is contributing to the research project
Post-Socialist Punk at Dept. of Sociology, Warwick University. This semester he
is also a visiting fellow at Salford University’s School of Media, Music and
Performance.
Sunday, 20 May 2012
HEA Workship: session report
Salford's Deborah Gabriel attended --- our thanks to her for the below report. More such sessions are in the pipeline and we're happy to fund Salford PGR attendance.
HEA New to Teaching Workshop – Media and Communications 14/15 May 2012
Highlights
The course offered an excellent opportunity amongst peers to learn and discuss current issues in higher education, such as the challenges facing the sector relating to funding cuts, the marketization of higher education and the new REF, which directly impact our roles in the sector.
Sessions on the student experience raised some important points, such as the role of student wisdom and how to incorporate this into teaching through approaches like peer-led learning and the growing trend towards collaborative learning. We also examined the purpose of assessment, the wide variety of assessment methods and our tendency to stick to traditional forms of assessment such as essays and exams. Other more creative forms of assessment such as the use of reflective journals, blogs and wikis were discussed.
Of particular relevance was the session on media pedagogies and the often rigid divisions between teaching theory and practice, how this fragments the teaching process and ways of making the student experience more holistic. For example, different lecturers are usually responsible for teaching theory and practice, but if each were able to examine the module outline for their respective courses then this would help to ensure that specific references and examples can be used to link theory and practice.
We also looked at the role of lectures in teaching, how they could be made less didactic and alternative methods of teaching theory such as group work, which could increase student engagement.
This tied-in with the session on the role of technology in the curriculum and how we can embed technologies into teaching, learning and assessment. We saw examples of videos created by students where they presented answers to research questions through interviews, and the use of Twitter as a learning tool.
Overall the course was of immense value both in prompting self-reflection on our own teaching styles and approaches and in generating new levels of enthusiasm and new ideas for integrating more creative forms of teaching and assessment into the modules that we teach.
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