Monthly Archives: May 2017

Arts Week 2017: The contemporary: an exhibition

This post was contributed by Hafsa AlKhudairi, a student on Birkbeck’s MA Contemporary Literature and Culture

the-contemporaryThe exhibition featured multiple pieces that could be defined as both art pieces and theses.

My contemporary: student videos

During the autumn of 2016, the students of the MA Contemporary Literature and Culture were asked to create a short video that expresses their experience of the contemporary. Magdalena Sałata’s response, called “Reading (The Contemporary)”, literally shows the books that created her contemporary reading experience. My response, called “Fandom in The Contemporary” shows all the different ways people express their love to shows, books, movies, and comics. Annapurna Barry’s submission is the experience of an audience watching Rachel Maclean’s ‘Wot U 🙂 About’, expressing an enjoyment and an interaction with subversive and modern art. Nourhan Souk’s “Week 11” explores Peter Boxall’s statement in Twenty-First-Century Fiction: A Critical introduction (2013): “When we look backwards out of a speeding car, the place we are occupying at any given time is a simple, lateral blur, which resolves itself into a picture only when we have left it behind, as it fades into the distance” (1-2). Finally, Samatha Bifolco’s contribution is both an observation about how the hairdressing industry has become creative and innovative using the stylings of the common street factions and turning it into a trend for the masses, commenting on humanity’s affinity to remix trends.

Remote action and reaction

Using a virtual reality headset and an iPhone, war becomes an entertainment and a game, yet this technology is used to train military personnel before they are shipped. For the bystander, it is just an interesting experience into a new type of gaming or a new way of exploring life. However, the exhibit highlights this new technology use in the military, bringing forth criticism towards remote warfare that desensitizes military personnel from the tragedy of war and the loss of human life, but at the same time helps save those who train in a safe environment before being thrust into war.

The expansion of narrative in the digital age by Hope Dinsey

Hope Dinsey breaks down their topic into print media’s reaction to digital, digital media and new fiction formats, fandom and changes to the narrative environment. This exhibit relates the changes in narration to the existence of the internet, for it created a more varied approach. The exhibit demonstrates how print media responded by becoming more creative and innovative in their physical books. Moreover, there was a rise of digital literature after the internet such as interactive fiction and hypertext fiction, presented with an original story by Dinsey. Lastly, the global existence of fan culture became accessible and was perpetuated by the reorientation of the canon in a creative and mostly inclusive manner.

Ghosts of the future: ruination and (re)creation by Daniel Pateman

Daniel Pateman created a multimedia exhibit that shows a video that shows the ruins of a past life and re-created scenes that could have happened in these sites of ruination. It shows the contemporary’s obsession with scenes of the past as a means of exploration of the futility of life and the speed in which things can change from prosperity to devastation. It’s also a reflection of not just physical dissolution, but a mental one too because of the desolate political landscape. However, the exhibit didn’t focus solely on the video; it was accompanied with images and poetry that explores the idea of ruination as well as display different stages of ruination, bring the theme to life.

It’s a Fairy Tale! by Aefifa Razzaq

The current political climate is filled with stories about the American government and children are listening to these stories. As a teacher, Aefifa Razzaq, felt compelled to confront the topic and explain how despite the overarching belief that we have become completely progressive and united, Donald Trump was still elected president with his racist, bigoted, and misogynistic opinions. What was created out of that was a bunch of students expressing their opinions on how influential he is in terms of his aptitude in swaying people’s opinion towards his view. The outcome was a book filled with quotes from past presidents stylized by one of Razzaq’s students.

Arts Week 2017: A look into “the everyday life of digital humanities”

laptop-819285_1920As universities are transformed by the constant presence of digital technology, there is a need to look at how this modifies higher education practices. Lesley Gourlay, from the UCL Institute of Higher Education, has studied the phenomenon of the “digital university” from a post-human perspective and, on Monday 15 May, presented some insights from her work. Her talk was followed by a panel discussion featuring Grace Halden (Department of English and Humanities, Birkbeck) and Tim Markham (Department of Film, Media and Cultural Studies, Birkbeck) who gave their own perspectives on the topic.

Theory: the post-human perspective on digital pedagogy

How should we go about studying digitalized pedagogical practices? Instead of unthinkingly placing the human at the centre of these technologies, Lesley’s post-human theoretical background challenges such naturalized perspectives. Lesley uses the work of Katherine Hayles (2012) to move towards a notion of extended mind, where the clear binaries between user and device are undermined. Lesley’s talk could in fact be given as an example of this extension of the human, and the movement towards the post-human. While Lesley was an engaging speaker, her talk was also made possible thanks to a presentation that included audio-visual elements from her research. The presentation functioned as an extension of her self, giving new context and meaning to the words she uttered.

Observing theory in pedagogic practice

The status quo of materiality within universities has changed. Lesley posits that the way to understand these changes is by rendering unseen practices visible and watching them unfold. Lesley’s research looks into what students actually do when engaged in independent study, revealing materiality as a dynamic process. Multimodal journaling records the ways in which students negotiate the boundaries between print and digital. This negotiation is personal but depends heavily on the settings, which are far from neutral. In the same way, materiality is not neutral to students. Some express a preference for markers, pens, and paper: they need the physical experience. Others prefer digital and go to great lengths (microwaving a book to separate the pages and digitalize them!) to obtain the material in the format they feel best suits their learning.

Through her research, Lesley brings Latour’s theory of the agentive importance of artefacts to life. Objects are mediators: they change the meanings they’re meant to carry. Recognizing this is necessary for studying the effect of digital objects in contemporary academic practice. Lesley’s presentation, in sum, sought to undermine certain binaries such as user/device as well as the ideal of neutral channels and stable human authorship and agency.

Multiple perspectives on technology’s multiple impacts

After Lesley’s presentation, Grace and Tim offered their own views on the impact of digital technology in academia. Grace adopted a practitioner’s perspective, as she questioned whether a traditional written essay continued to be the ideal assessment in an age that, as Lesley had described, was deeply multi-modal. Meanwhile, Tim discussed notions of education and identity, arguing that seemingly banal technologies such as departmental e-mail were constitutive of the community’s identity, and needed to be part of any understanding of technology’s impact. A rich discussion also took place during the Q&A segment, with topics ranging from the paperless office to the role of Wikipedia in research.

Today, it seems positions on the effect of digital technology in education often fall into either excessive pessimism or excessive optimism. The other speakers at this event shed light on what Lesley termed the “messy in-betweenness”, where richer insights can be found. In terms of the magnitude of impact, too, there is a need to get at this middle space. It is disingenuous to think digital text is only another neutral form of communication. On the other hand, it is unwarranted to predict a total transformation of learning practices where bookshops and lecture rooms disappear, and everything happens through MOOCs. Ultimately, this event illustrated the myriad ways in which the impact of digital technology on learning may be understood: ‘digital’ encompasses so many different technologies and practices that it does not make sense to talk about impact in sweeping terms in the first place.

Valentina Salvatierra is a writer and reader currently living in London. She is interested in literary theory, comparative literature, and speculative fiction.

Law, Race and Brexit Britain

This blog was contributed by Devin Frank, a graduate of the School of Law at Birkbeck. He will soon be returning to the College as a PhD candidate and part-time seminar tutor.

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Credit: Cole Peters 2017.

On 15 May 2017 students and academics gathered for the launch of Birkbeck’s new research initiative, the Centre for Research on Race and Law, focusing on Law, Race and Brexit Britain.

After an introduction to the new Centre by the Acting Dean of the Law School, Dr Stewart Motha, and the co-director of the Centre, Dr Sarah Keenan, five speakers discussed how conceptions of race permeate law, politics and policy — not only in Britain, but across numerous jurisdictions.

At the heart of the discussion was an underlying paradox: conceptions of race and racism manifest through law, while law in itself is often a last defense against racism. Reflecting on my own experience working as a caseworker and paralegal, nowhere is this paradox more apparent than within the immigration systems of the Western world, particularly in the UK, US and Australia. Having endured the horrors of having to read and engage with Home Office refusal letters, it is abundantly clear that racism is not only tolerated within the diameters of immigration decision making, it is actively encouraged. When faced with a letter claiming that an individual’s immigration application is refused based on a legally accepted notion of race, the response of any lawyer is then to plead with the law, often in the form of an appeal or judicial review, to seek a legal remedy to the artificial and racist conception of law that allowed for injustice in the first place.

After Professor Patricia Tuitt, Executive Dean of the Law School, skillfully laid the foundation for considering how race and racism permeates all institutions, including that of law, the next four speakers showed how race matters in political discourse, immigration controls, EU trade policy and Brexit Britain. Tuitt’s opening talk had reminded us that the colonial dogma of race still infects the bureaucratic mechanisms of all aspects of society, including the university – a critique from which Birkbeck and the Law School are by no means immune.

Professor Gurminder Bhambra (University of Warwick) aptly highlighted the need to ‘get history right’ in order for concepts to have useful meanings — something that was an abysmal failure in the Brexit campaign. Bhambra began by examining the Brexit referendum data to debunk the myth that the Leave result was the resounding voice of ‘the left behind’ white working class. Rather, Bhambra showed that the vote to Leave was determined by property owners, pensioners, and well-off white middle class voters.

race-and-law-blog

The rhetoric of ‘taking back control’ lacks any kind of historical or political reality: Britain is not and never has been a nation, rather it is an imperial polity. British citizenship only came to refer primarily to people living in Britain in 1981, as this citizenship was formerly shared between Britain and its colonies. The British psychosis brought on by a fear of non-white migration goes to highlight the need for research initiatives such as the Centre for Research on Race and Law to further facilitate discussion based on sound research, with dignity and respect.

Following the EU referendum, it became all too common to ignore the underlining causes, divert attention away from blatant racism and xenophobia and pose a simpler question: ‘what about the economy?’. Professor Diamond Ashiagbor (Institute of Advanced Legal Studies) discussed the relationship between economic inequality, race and global trade in the context of ‘Empire 2.0’, encapsulated in Secretary of State for International Trade, Liam Fox’s, plan to negotiate new trade deals with Commonwealth countries in order to compensate for the EU trade that will be lost with Brexit. Ashiagbor argued that leaving the EU against the backdrop of rewriting/forgetting histories of empire, migration and race will exacerbate the internal economic equalities caused by open markets and global trade.

Drawing on ideas stemming from the political economist Karl Polanyi, Ashiagbor argued that markets only work without destroying society if they are constrained, and if social redistribution is facilitated. Pre-Brexit, such constraints and redistribution were put in place by domestic British law and also by EU law. The irony of Brexit racism, Ashiagbor argued, is that much of the labour migration upon which Britain has relied and against which the Leave campaign rallied, has long been fuelled by European plunder of the rest of the world. The sense of ‘the left behind’ voting for Brexit fails to capture the reality that the industrialised working class (both white and non-white) in the UK has long been supported by extraction from colonised states. Only through the plunder of resources and exploitation of labour from the Global South has the UK been able to build its welfare state.

Professor Iyiola Solanke (University of Leeds) sought to address the question: what of the forgotten groups that will be affected by Brexit? In the news and within mainstream discussion many rightly pose the question: ‘what status will EU citizens have in the UK and what status will UK citizens have in Europe?’. While this is a pertinent question, Solanke noted that it fails to address the situation of third country nationals, such as spouses and family members of European citizens in the UK, and so-called ‘Zambrano families’ (those who care for EU/UK citizens). While it seems likely that predominately white men, coming from the United States and earning high incomes working in London’s financial centres will find the legal categories to remain in the UK regardless of the ultimate Brexit deal, the future status of black parents from Nigeria, Ghana and Jamaica currently in the UK caring for their British children is much more ominous.

Finally Dr. Nadine El-Enany, Senior Law Lecturer and Co-Director of Centre for Research on Race and Law spoke about the importance of taking critical race scholarship seriously. With explicitly racist far-right movements on the rise in many parts of the world (including but not limited to the Brexit and Trump victories), El-Enany argued that it is more important than ever for legal academics not only to offer analyses which critique the role of law in upholding racism, but also to be creative about the strategic use of law for immediate survival of the most vulnerable in society. Drawing Mari Matsuda’s work, El-Enany argued that we have much to learn from critical race feminists who have written about the need to be strategic in relation to law in order to survive in a structurally violent world.  El-Enany recounted that during her own PhD studies she was told that race was not a useful analytical concept for scholarship on migration law, and that her intellectual development and psyche were significantly hindered by this falsity for many years. The new research Centre will lead the way, and provide a much needed space, to support the study of the relationship between race and law.

Arts Week 2017: Andy Smith dematerialising theatre

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An Oak Tree

Evening. The room is white and hung with a lighting rig, the lights are not switched on. There is wine and jaffa cakes coming to room temperature at the back. The performances of Andy Smith are often performed in a space very similar to this. Daragh Carville has just introduced Andy Smith to a room of students, performers and academics.

Andy Smith

Find simple questions, if you just let them hang in the air a little bit/

The entrance of a late arrival interrupts the thought. Andy Smith, who is not a professional actor, has been told that he does not do theatre. Whatever others may say about what it is  that Andy Smith does, or indeed does not do, he is completely clear.

Andy Smith I’m the first audience.

Andy Smith is the ultimate collaborator-facilitator. Whether that is as part of his ongoing work with Tim Crouch or in his own productions, which he hesitatingly refers to as solo work, Andy Smith makes it clear that the audience is very much an active element in his process.

Andy Smith

I can think of millions of examples of theatre where things are taken away. Can anybody give me an example of a theatre that hasn’t got an audience?

The audience remains silent.

Andy Smith

It is inside the audience where the dilemma or the ideas happen. You are what is making this.

It is this logic that informed the dematerialised theatre.

Andy Smith

I’m aesthetically interested in doing more with less.

The act of being present with one another is enough to make theatre.

Andy Smith

I step away up here to make more space for you there. Inviting the audience and making a suggestion about something. Theatre happens inside an audience.

Andy Smith finds that the acknowledgement that theatre is occurring demands recognising, using and manipulating traditions and forms in order to make it real, tangible. Storytelling is central to all of Andy Smith’s work.

Andy Smith

It’s not a very fashionable thing to say but I’m ok with that.

Andy Smith makes the presentation into a piece of theatre. To demonstrate this he brings up a willing volunteer (the writer of this piece) to perform a dialogue that accompanies the artwork ‘An Oak Tree’, the piece that inspired the play ‘An Oak Tree’. In giving his definition of his vision of theatre, dematerialised, an academic forum would be the best form.

Blackout

Jonathan Parr is studying jointly at Birkbeck and RADA on the Text and Performance MA