BURA Collection:http://bura.brunel.ac.uk/handle/2438/86012024-03-28T13:43:27Z2024-03-28T13:43:27ZConcorde's TyresRollason, Whttp://bura.brunel.ac.uk/handle/2438/286472024-03-28T03:00:46Z2023-06-01T00:00:00ZTitle: Concorde's Tyres
Authors: Rollason, W
Abstract: This article explores the Concorde crash of 25 July 2000, seeking to show how law and regulation do crucial ontological work in the maintenance of commercial flight, and likely other aspects of modern techno-social arrangements. I argue that law and regulation cannot be seen as an exteriority, constraining and shaping the production of technology, but should be viewed as a component in the production of a physico-legal reality that a machine embodies. The Concorde disaster, by this logic, happened when that reality proved to be inadequate. It sparked a physical redesign of the aircraft, but also an intertwined effort to repair it normatively. Commercial flight is thus a total phenomenon comprising physical and social laws. This, I suggest, is the ontological significance of law and regulation in the production and maintenance of airliners.2023-06-01T00:00:00ZFrom Stereotyped Postures to Credible Avant-Garde Strategies: The Alchemical Transformation of Drone MetalCoggins, Ohttp://bura.brunel.ac.uk/handle/2438/286432024-03-28T03:00:45Z2023-08-31T00:00:00ZTitle: From Stereotyped Postures to Credible Avant-Garde Strategies: The Alchemical Transformation of Drone Metal
Authors: Coggins, O
Editors: Herbst, JP
Abstract: Drone metal is an extremely slow and extended subgenre of metal, developing since the 1990s at the margins of metal and experimental music scenes. Influences include minimalist composers, Indian ragas and contemporary artists alongside Black Sabbath. This echoed earlier metal musicians’ appeals to the elevated cultural status of baroque musicians in response to stereotypes of metal culture as stupid and unskilled, which often revealed class snobbery about metal’s perceived audiences. This chapter examines drone metal as a metal avant-garde, analysing how it has been received outside metal culture, and how coverage of this marginal subgenre might affect perceptions of metal music overall. Taking jazz and experimental music magazine The Wire as a case study, the chapter describes that magazine’s reproduction of stereotypes about metal until the 2000s, when it began to cover drone metal. Thereafter the magazine became more positive about metal in general, even describing it as always having been experimental. This revisionism is particularly evident in The Wire’s repeated use of an alchemical metaphor to describe drone metal as turning ‘base metal’ into avant-garde gold.2023-08-31T00:00:00ZCitizenship and discomfort: Wearing (clothing) as an embodied act of citizenshipHalász, Khttp://bura.brunel.ac.uk/handle/2438/286412024-03-27T03:00:51Z2024-02-16T00:00:00ZTitle: Citizenship and discomfort: Wearing (clothing) as an embodied act of citizenship
Authors: Halász, K
Abstract: This article contributes to research on citizenship and belonging in the post-Brexit white East European migration to the UK. It explores wearing a garment as an act of citizenship and an embodied methodology. It is formed of two interrelated parts: the first presents the argument that wearing a particular garment at a specific spatio-temporal juncture can be considered an act of citizenship. The second part proposes wearing as an affective method in researching citizenship that has the potential to explore the sensory and emotional dimensions of (non)belonging. White embodiments and discomfort are two threads that connect the main arguments. The article builds on autoethnographic notes made after preparing for a job interview as a white East European woman wearing a Victorian male costume while travelling from East to South London in the wake of the General Election on 12 December 2019.2024-02-16T00:00:00ZBlack Film, British Cinema: In Three ActsMalik, Shttp://bura.brunel.ac.uk/handle/2438/286222024-03-25T03:00:49Z2021-03-02T00:00:00ZTitle: Black Film, British Cinema: In Three Acts
Authors: Malik, S
Editors: Nwonka, C; Saha, A
Abstract: Thirty years ago, pioneers in making and thinking about black cultural production were holding the first Black Film British Cinema conference (1988) at the Institute of Contemporary Arts (ICA). That conference, and the subsequent publication of ICA Documents 7 of the same title, were to become critical interventions for a generation of emerging scholars, students, and practitioners interested in the place of film culture in the formation of national identities. As transformative as that moment was, I would like to revisit why those
interventions mattered, and take up one of the key questions that a retrospective of that period poses for the current moment; what has, and what has not, become of black British film?2021-03-02T00:00:00Z