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Journal articles on the topic 'Manning Gallery (London, England)'

Author: Grafiati

Published: 27 February 2023

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1

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery." Circa, no. 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

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TALLACK, DOUGLAS. "Reflections on The American Scene: Prints from Hopper to Pollock, British Museum, London; Djanogly Art Gallery, Nottingham; Brighton Museum and Art Gallery; Whitworth Art Gallery, Manchester, April 2008–December 2009." Journal of American Studies 44, no. 3 (2010): 613–25. http://dx.doi.org/10.1017/s0021875810001556.

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It is tempting to regard the remarkable success of this exhibition of works from the British Museum's American prints collection, as it toured England, as a response to the demise of the Bush Administration and the election of Barack Obama. However, George W. Bush was in the White House throughout the period when these prints were on display at the British Museum from April to September 2008.

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SHEPARD, ALEXANDRA. "VIOLENCE AND CIVILITY IN EARLY MODERN EUROPE." Historical Journal 49, no. 2 (2006): 593–603. http://dx.doi.org/10.1017/s0018246x06005358.

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Violence in early modern Europe, 1500–1800. By Julius R. Ruff. Cambridge: Cambridge University Press, 2001. Pp. xii+269. ISBN 0-521-59119-8. £13.95.The London mob: violence and disorder in eighteenth-century England. By Robert Shoemaker. London: Hambledon and London, 2004. Pp. xvi+393. ISBN 1-85285-389-1. £25.00.Outlaws and highwaymen: the cult of the robber in England from the middle ages to the nineteenth century. By Gillian Spraggs. London: Pimlico, 2001. Pp. x+372. ISBN 0-7126-6479-3. £12.50.The duel in early modern England: civility, politeness and honour. By Markku Peltonen. Cambridge: C

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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic

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Barber, Fionna. "Fintan Cullen and R.F. Foster, ‘Conquering England’: Ireland in Victorian London. London: The National Portrait Gallery. 2005. 80pp. Illus. £12.50. Fintan Cullen, The Irish Face: Rede.ning the Irish Portrait 1700–2000. London: The National Portrait Gallery. 2004. 240 pp. Illus. £30.00." Urban History 34, no. 01 (2007): 158–60. http://dx.doi.org/10.1017/s096392680727453x.

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King, Peter. "Legal Change, Customary Right, and Social Conflict in Late Eighteenth-Century England: The Origins of the Great Gleaning Case of 1788." Law and History Review 10, no. 1 (1992): 1–31. http://dx.doi.org/10.2307/743812.

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In 1788 the Court of Common Pleas, after lengthy deliberations, came to a judgment in Steel v. Houghton et Uxor, concluding that “no person has, at common law, a right to glean in the harvest field.” Gleaning was of considerable importance to many laboring families in the eighteenth century; therefore, both the provincial and the London-based newspapers reported the 1788 judgment at length, as well as covering the 1786 case of Worlledge v. Manning on which it was partly based. The 1788 case not only stimulated a widespread public debate over the gleaners' rights, but also established an import

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Ricketson, Matthew. "REVIEW: Julian Assange: Persecuted and abused for exposing dirty secrets of the powerful." Pacific Journalism Review : Te Koakoa 28, no. 1 & 2 (2022): 247–51. http://dx.doi.org/10.24135/pjr.v28i1and2.1260.

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The Trial of Julian Assange: A Story of Persecution, by Nils Melzer. Brooklyn, NY: Verso. 2022, 368 pages. ISBN 9781839766220 IT IS easy to forget why Julian Assange has been on trial in England for, well, seemingly forever. Didn’t he allegedly sexually assault two women in Sweden? Isn’t that why he holed up for years in the Ecuadorian embassy in London to avoid facing charges? When the bobbies finally dragged him out of the embassy, didn’t his dishevelled appearance confirm all those stories about his lousy personal hygiene? Didn’t he persuade Chelsea (formerly Bradley) Manning to hack

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Bock, Carol A. "AUTHORSHIP, THE BRONTËS, AND FRASER’S MAGAZINE: “COMING FORWARD” AS AN AUTHOR IN EARLY VICTORIAN ENGLAND." Victorian Literature and Culture 29, no. 2 (2001): 241–66. http://dx.doi.org/10.1017/s1060150301002017.

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UNDER THE DIRECTION OF ITS FIRST EDITOR, William Maginn, Fraser’s Magazine purveyed popular images of literary life in the 1830s through its Gallery of Illustrious Literary Characters — Daniel Maclise’s engravings of contemporary literary figures accompanied by Maginn’s irreverent textual commentary — and through humorous depictions of the supposed staff meetings of “The Fraserians” themselves (figure 1), whom Miriam Thrall described as “care-free scholars, who laughed so heartily, and drank so deeply, and wrote so vehemently around their famous editorial table” (16). Composed by Maginn in imi

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Mitjans, Frank. "Non sum Oedipus, sed Morus." Moreana 43 & 44 (Number, no. 4 & 1-2 (2007): 12–67. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.4.

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Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada (1923-2005), author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many presentations and talks on the topography of More’s London to groups of students and other int

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Johl, S. S. "Italian Psychiatry." Bulletin of the Royal College of Psychiatrists 9, no. 4 (1985): 73–74. http://dx.doi.org/10.1192/s0140078900001681.

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The dramatic changes in Italian psychiatry since 1978 when the practice of Democratic Psychiatry was officially started has had a controversial response from both inside and outside Italy. In an attempt to know more about the system that made sweeping changes in Italian psychiatry, five Italian psychiatrists and psychologists were invited to Sheffield for a two-week exposition of films, paintings, photographs, lectures and meetings on the art of Democratic Psychiatry from Italy. This was the final leg of the visit to England, after London and Manchester. The events were organized in a truly va

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Groznov, O. D. "The Transformation of Classical Order in John Soane’s Architecture." Art & Culture Studies, no. 1 (2021): 86–103. http://dx.doi.org/10.51678/2226-0072-2021-1-86-103.

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The article provides a new approach to study the oeuvre of an architect-neoclassicist Sir John Soane. This approach is concerned to an original interpretation of architectural order by Soane. Studying the metamorphosis of classical order in Soane’s architecture can help to understand the evolution and particularity of Soane’s individual style and also to define the specific place of this style in the neo-classicist movement. The article describes the development of the architectural order in England (since the 16th century to the beginning of the 19th century) and some specific features of the

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Penny, Nicholas. "James Beck, ed. Raphael before Rome. (National Gallery of Art, Washington, Studies in the History of Art, 17.) Hanover-London: University Press of New England, 1986. 210 pp. $27.50." Renaissance Quarterly 46, no. 1 (1993): 189–92. http://dx.doi.org/10.2307/3039167.

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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.

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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 73, no. 1-2 (1999): 121–81. http://dx.doi.org/10.1163/13822373-90002590.

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-Charles V. Carnegie, W. Jeffrey Bolster, Black Jacks: African American Seamen in the age of sail. Cambridge MA: Harvard University Press, 1997. xiv + 310 pp.-Stanley L. Engerman, Wim Klooster, Illicit Riches: Dutch trade in the Caribbean, 1648-1795. Leiden: KITLV Press, 1998. xiv + 283 pp.-Luis Martínez-Fernández, Emma Aurora Dávila Cox, Este inmenso comercio: Las relaciones mercantiles entre Puerto Rico y Gran Bretaña 1844-1898. San Juan: Editorial de la Universidad de Puerto Rico, 1996. xxi + 364 pp.-Félix V. Matos Rodríguez, Arturo Morales Carrión, Puerto Rico y la lucha por la hegomonía e

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Whitehead, Gavin. "The Pleasures and Problems of Consuming True Crime as Theatrical Entertainment in Nineteenth-Century London." Nineteenth Century Theatre and Film, October 18, 2022, 174837272211242. http://dx.doi.org/10.1177/17483727221124202.

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Now a pillar of popular culture, the multi-media genre of ‘true crime’ has roots in nineteenth-century England. Particularly in London, a burgeoning media landscape increasingly catered to public interest in sensational homicides. Like other purveyors of true-crime entertainment, theatre managers at licensed playhouses wished to capitalise on murders making national headlines but encountered considerable – at times insurmountable – obstacles in their path. The likelihood of censorship plus that of public uproar ensured that melodramas inspired by recent slayings seldom showed at licensed playh

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Admink, Admink. "СТРІТ-АРТ ЛОНДОНА В КОНТЕКСТІ МОНУМЕНТАЛЬНОГО ЖИВОПИСУ АНГЛІЇ". УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), № 31 (16 березня 2020). http://dx.doi.org/10.35619/ucpmk.vi31.232.

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Стаття висвітлює особливості становлення та розвитку стріт-арту Лондона у контексті монументального стінопису Англії. Зазначено процес переходу концептуального мистецтва з галерейного простору на вулиці англійської столиці. Вказано види та стилі місцевого стріт-арту. Окреслено специфіку вуличного арту в районах Shoreditch, Old Street та Brixton. Визначено індивідуальну тематику творів графіті-митців під псевдо Sweet Toof, Banksy, Fanakapan, Pegas, Jonesy, Bambi, James Corchan та Franky Strand. Висвітлено процес збереження та захисту тамтешніх вуличних стінописів. Ключові слова: стріт-арт

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Garcés García, María Pilar. "Edouard Mesens, a Belgian forefather of the surreal movement in London 1936." Thélème. Revista Complutense de Estudios Franceses 34, no. 1 (2019). http://dx.doi.org/10.5209/thel.61063.

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The article presents the birth and the origins of English surrealism. Hardly studied from its beginnings, its incipient manifestations began with the exhibitions and manifestations organized in London by the Belgian gallerist and writer Édouard Mesens, acquiring afterwards, insular and specific connotations through the work of surrealist English and Welsh artists and writers in the interwar period. Roland Penrose, Eileen Agar, Paul Nash, David Gascoyne, Humphrey Jennings, among others, consider that Paris is the cradle of the highest and most revolutionary manifestations of art in all its form

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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2715.

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   Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the d

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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.22.

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the galle

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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer

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Leung, Colette. "The Beautiful and the Cursed by P. Morgan." Deakin Review of Children's Literature 6, no. 1 (2016). http://dx.doi.org/10.20361/g27618.

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Morgan, Page. The Beautiful and the Cursed. Toronto: Doubleday Canada, 2013. Print.This young adult fantasy novel tells the story of a young woman named Ingrid Waverly. Ingrid is a seventeen-year-old living in London, England at the end of the 19th century. She is the daughter of a wealthy man. However, after becoming the heart of a scandal involving a mysterious fire, Ingrid moves with her mother and little sister to Paris, France. Ingrid’s twin brother Grayson has already purchased an old abbey there for the family to settle into. Ingrid’s mother intends to restore the abbey, and turn it int

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"Herbert L. Kessler and Marianna Shreve Simpson, eds., Pictorial Narrative in Antiquity and the Middle Ages. (Studies in the History of Art, 16; Center for Advanced Study in the Visual Arts, Symposium Series, 4.) Washington, D.C.: National Gallery of Art, 1985. Paper. Pp. 181; illustrated. $20. Distributed by the University Press of New England, Hanover, N.H., and London." Speculum 62, no. 02 (1987): 508. http://dx.doi.org/10.1017/s0038713400115337.

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Adams, Jillian Elaine. "Australian Women Writers Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1151.

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At a time when a trip abroad was out of the reach of most women, even if they could not make the journey, Australian women could imagine “abroad” just by reading popular women’s magazines such as Woman (later Woman’s Day and Home then Woman’s Day) and The Australian Women’s Weekly, and journals, such as The Progressive Woman and The Housewife. Increasingly in the post-war period, these magazines and journals contained advertisements for holidaying abroad, recipes for international foods and articles on overseas fashions. It was not unusual for local manufacturers, to use the lure of travel and

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Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

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This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates

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Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

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   This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t

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Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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Brien, Donna Lee. "Why Foodies Thrive in the Country: Mapping the Influence and Significance of the Rural and Regional Chef." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.83.

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Introduction The academic area known as food studies—incorporating elements from disciplines including anthropology, folklore, history, sociology, gastronomy, and cultural studies as well as a range of multi-disciplinary approaches—asserts that cooking and eating practices are less a matter of nutrition (maintaining life by absorbing nutrients from food) and more a personal or group expression of various social and/or cultural actions, values or positions. The French philosopher, Michel de Certeau agrees, arguing, moreover, that there is an urgency to name and unpick (what he identifies as) th

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McGowan, Lee. "Piggery and Predictability: An Exploration of the Hog in Football’s Limelight." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.291.

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Lincolnshire, England. The crowd cheer when the ball breaks loose. From one end of the field to the other, the players chase, their snouts hovering just above the grass. It’s not a case of four legs being better, rather a novel way to attract customers to the Woodside Wildlife and Falconry Park. During the matches, volunteers are drawn from the crowd to hold goal posts at either end of the run the pigs usually race on. With five pigs playing, two teams of two and a referee, and a ball designed to leak feed as it rolls (Stevenson) the ten-minute competition is fraught with tension. While the pi

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Brockington, Roy, and Nela Cicmil. "Brutalist Architecture: An Autoethnographic Examination of Structure and Corporeality." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1060.

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Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and g

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Gallegos, Danielle, and Felicity Newman. "What about the Women?" M/C Journal 2, no. 7 (1999). http://dx.doi.org/10.5204/mcj.1798.

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Contemporary culinary discourse in Australia has been dominated by the notion that migration and the increased mobility of Australians is responsible for filling a culinary void, as though, because we have had no peasantry we have no affinity with either the land or its produce. This argument serves to alienate Australians of British descent and its validity is open to questioning. It's an argument in urgent need of debate because cuisine stands out as the signifier of a 'multicultural' nation. Despite all the political posturing, food has 'long been the acceptable face of multiculturalism' (G

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Bond, Sue. "The Secret Adoptee's Cookbook." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.665.

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There have been a number of Australian memoirs written by adoptees over the last twenty years—Robert Dessaix’s A Mother’s Disgrace, Suzanne Chick’s Searching for Charmian, Tom Frame’s Binding Ties:An Experience of Adoption and Reunion in Australia, for example—as well as international adoptee narratives by Betty Jean Lifton, Florence Fisher, and A. M. Homes amongst others. These works form a component of the small but growing field of adoption life writing that includes works by “all members of the adoption triad” (Hipchen and Deans 163): adoptive parents, birthparents, and adoptees. As the br

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Mussari, Mark. "Umberto Eco Would Have Made a Bad Fauve." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1966.

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"The eye altering, alters all." - Blake In his essay "How Culture Conditions the Colours We See," Umberto Eco claims that chromatic perception is determined by language. Regarding language as the primary modeling system, Eco argues for linguistic predominance over visual experience: ". . . the puzzle we are faced with is neither a psychological one nor an aesthetic one: it is a cultural one, and as such is filtered through a linguistic system" (159). Eco goes on to explain that he is 'very confused' about chromatic effect, and his arguments do a fine job of illustrating that confusion. To Eco'

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Franks, Rachel. "Before Alternative Voices: The Sydney Gazette and New South Wales Advertiser." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1204.

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IntroductionIn 1802 George Howe (1769-1821), the recently appointed Government Printer, published Australia’s first book. The following year he established Australia’s first newspaper; an enterprise that ran counter to all the environmental factors of the day, including: 1) issues of logistics and a lack of appropriate equipment and basic materials to produce a regularly issued newspaper; 2) issues resulting from the very close supervision of production and the routine censorship by the Governor; and 3) issues associated with the colony’s primary purposes as a military outpost and as a penal s

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Franks, Rachel. "A True Crime Tale: Re-imagining Governor Arthur’s Proclamation to the Aborigines." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1036.

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Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over r

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Webb, Damien, and Rachel Franks. "Metropolitan Collections: Reaching Out to Regional Australia." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1529.

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Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal people

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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i

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Page, John. "Counterculture, Property, Place, and Time: Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.900.

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Property as both an idea and a practice has been interpreted through the prism of a liberal, law and economics paradigm since at least the 18th century. This dominant (and domineering) perspective stresses the primacy of individualism, the power of exclusion, and the values of private commodity. By contrast, concepts of property that evolved out of the counterculture of the 1960s and early 1970s challenged this hegemony. Countercultural, or Aquarian, ideas of property stressed pre-liberal, long forgotten property norms such as sociability, community, inclusion and personhood, and contested a p

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Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a

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Avram, Horea. "The Convergence Effect: Real and Virtual Encounters in Augmented Reality Art." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.735.

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Augmented Reality—The Liminal Zone Within the larger context of the post-desktop technological philosophy and practice, an increasing number of efforts are directed towards finding solutions for integrating as close as possible virtual information into specific real environments; a short list of such endeavors include Wi-Fi connectivity, GPS-driven navigation, mobile phones, GIS (Geographic Information System), and various technological systems associated with what is loosely called locative, ubiquitous and pervasive computing. Augmented Reality (AR) is directly related to these technologies,

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