Peter Cook Research Articles

The London Conceptualists

This article examines the formation, activities, and significance of a group dubbed the “London Conceptualists” by Peter Cook that were students of Bernard Tschumi at the Architectural Association School of Architecture during the mid-1970s. Through RoseLee Goldberg, director of the Royal College of Art, the students were introduced to theories of performance along with radical experiments in performance art. Goldberg's conception of space as an arena for the realization of theory goaded the London Conceptualists away from writing and drawing toward installations and performance in disused buildings. This article situates their activities in London in the late 1970s and analyzes their relationship to other performance art practices and to conceptual architecture.

BILAG, SLEDAI, SIS, ECLAM, WAM, SLAM …. Thank you MAM

Lupus (2007) 16, 849‐851 http://lup.sagepub.com Many years ago the late Peter Cook and Dudley Moore wrote a sketch in which the characters spoke to each other mostly in abbreviations along the lines . . . ‘Good evening JB wasn’t it you I saw driving the BMW in SW2 last week? Are you OK?’ ‘Yes, PC that was me I was in a bit of hurry; spot of D&V coming off the P&O cruise from NYC …’ and so on …. Reading the current lupus literature in relation with lupus disease assessment draws an inevitable comparison given the plethora of abbreviations and acronyms especially for disease activity indices. This situation, however, should not be regarded as wholly bad given what went before, which was frankly anarchy. As has been pointed out 1 in the twenty years or so leading up to the mid-80s some sixty attempts at defining disease activity in patients with lupus were published that were of little value since the authors did not attempt to validate them, demonstrate their reproducibility or show they could be used in large numbers of collaborating centres. I should perhaps, put my hand up here as being at least as guilty as anybody else, as three of these early attempts were mine! Things began to change in the mid-80s when groups in the UK, Toronto and Boston began to take the assessment of lupus patients seriously. The Boston and Toronto groups went along a conventional global score path attempting to develop accurate and reliable global scores that were arrived at by consensus, tested on real and paper patients and in a variety of collaborating centres. Thus Matt Liang developed the Systemic Lupus Activity Measures (SLAM) global score 1 and

Introduction: The 1964 General Election—the ‘Not Quite, But’ and ‘But Only Just’ Election

Polling in the British general election of 1964 took place on 15 October. It had been almost exactly five years since the election of 1959—not quite the only occasion that a parliament had lasted i...

From Mound to Sponge: How Peter Cook Explores Landscape Buildings

AbstractWhile his fellow Archigram designers were hooked into new technologies, Peter Cook was heading his own private investigation into landscape. Michael Spens traces Cook's preoccupation with site from the aptly named Mound of 1964 through to his Sponge City earthscape of 1974. The project continues with Cook's recent Oslo Patch. Copyright © 2007 John Wiley & Sons, Ltd.

The Nuclear Family: Functional Organization of the Cell Nucleus Prague, Czech Republic, May 5–8, 2006

![][1] Clustering of large complexes gives smaller ones more room to move. COOK/BIOPHYSICAL SOCIETY The tendency of large complexes to congregate drives the organization of the genome and other cellular structures, according to Peter Cook (University of Oxford, UK). In a crowded,

Father Joe: The Man Who Saved My Soul

Back to table of contents Previous article Next article Book ReviewsFull AccessFather Joe: The Man Who Saved My SoulMaureen KaplanMaureen KaplanSearch for more papers by this authorPublished Online:1 Jul 2005https://doi.org/10.1176/appi.ps.56.7.880AboutSectionsView EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail In Father Joe: The Man Who Saved My Soul, Tony Hendra has written a memoir and homage to the Benedictine monk who provided a secure base of unconditional acceptance throughout the tumultuous years of the author's life. Hendra is best known as a satirist and the first managing editor of National Lampoon.In this highly readable narrative, Hendra recounts his growing-up years during the 1950s, a time filled with typical outdoor explorations and adventures of a Catholic schoolboy in rural England. What is not so typical is his sexual awakening when seduced at age 14 by a lonely wife, whose husband responds by taking Hendra for a visit of several days to the monastery at Quarr Abbey. Although the book's marketing focuses on Hendra's seduction, this event merely serves as the circumstance surrounding the author's first encounter with the book's central character, Father Joe. This wise and funny man with gnarled hands and feet became for Hendra the "still center, the rock of my soul." In recounting repeated visits to the monastery, Father Joe is lovingly recalled for his warmth and understanding, humor, and enigmatic wisdom. For Hendra, Father Joe is more therapist than priest, evincing the "wisdom I craved—though it was never what I expected; his judgment alone I feared—though never once did he pass judgment on me."The story is most compelling in the author's account of his late adolescence, when he contemplates becoming a monk. Under Father Joe's guidance, Hendra immerses himself in history, philosophy, and theology. Despite his devotion, Father Joe insists that Hendra take a different path, and we follow his reluctant attendance at Cambridge University. While there he has another awakening after seeing the theatrical satire Beyond the Fringe, starring Dudley Moore and Peter Cook. Hendra's new passion to become a satirist takes him to America, where he finds success as a writer but discovers himself to be a failure as a husband and father.In the second half of the book, Hendra depicts his struggle to become a success in Los Angeles; with only intermittent work, he resorts to drugs and alcohol to quell his anxiety. This part of Hendra's account drags a bit—his self-absorption is as tedious to read about as it would have been to experience. Once again, it is the patient and unyielding love on the part of Father Joe that finally draws Hendra to reconnect with the only person capable of leading him to self-acceptance. Father Joe personifies that hovering presence Freud spoke of—one who listens but does not judge, the therapist we all wish we were, the therapist we all wish we had. As Hendra finds redemption in a new marriage and as a new father, his internalization of Father Joe is complete. Their journey together is more profound than words can adequately express. For anyone who is interested in how the unconditional acceptance of a therapeutic relationship can heal, no matter what the venue, this book will move and inspire you.Ms. Kaplan is a doctoral fellow at Smith College in Chester, Vermont.by Tony Hendra; New York, Random House, 2004, 271 pages, $24.95 FiguresReferencesCited byDetailsCited byNone Volume 56Issue 7 July 2005Pages 880-881 Metrics History Published online 1 July 2005 Published in print 1 July 2005

What is the purpose or goal of a presidential address?

What is the purpose or goal of a presidential address?

Disability Studies: Enabling the Humanities (review)

Disability Studies: the Humanities, ed. Sharon L. Snyder, Brenda Jo Brueggemann, and Rosemarie Garland-Thomson (New York: Modern Language Association, 2002. xiii + 386 pp. $22 paper, $40 cloth) ASSUMPTIONS CAN BE more disabling than disabilities. When I was a toddler, Eva and Charley lived in our apartment building. Eva had a low voice, which made it easier me to understand her, and I spent many hours playing in her apartment. I knew that her leg braces and crutches were connected to polio but didn't know the details. A few years later, when visiting their new apartment, I was stunned when I saw a newly displayed wedding photo. photo exploded my assumptions about Charley, his wife, and their relationship: Eva had had polio before they got married. What had trapped me into thinking that Charley was such a good husband accepting his wife's condition after she got the disease? What had disabled me from considering the possibility that he had courted a woman with crutches? Answers to such questions are easier to come by today, given the burgeoning wealth of resources related to studies. internet search that term returns approximately forty thousand hits; there is little doubt that in a few more years related fields such as Deaf studies will become subsets of studies. A valuable addition to this field is Disability Studies: the Humanities. volume is modestly priced and comes with a compact disc containing XML and ASCII versions of the text. In her concluding essay, An Pedagogy, Brenda Jo Brueggemann expresses the hope that the collection of pieces she has edited with Sharon L. Snyder and Rosemarie Garland-Thomson will offer as insight into language and literature undergraduate and graduate students. Published by the Modern Language Association, this volume endeavors to show how to integrate the concept and representation of disability into teaching and scholarship and offer strategies integrating people with disabilities into the classroom and the profession. Integration into the profession is only tangentially addressed, but the volume richly delivers on the other stated objectives. four headings the twenty-four essays (plus introduction and afterword) are Enabling Theory, Autobiographical Subjects, Rehabilitating Representation, and Enabling Pedagogy. (Disclosure note: I know several of the volume's contributors.) In the leading essay, Narrative Prosthesis and the Materiality of Metaphor, David T. Mitchell's central thesis is that pervades literary narrative, both as a stock feature of characterization (thus serving as narrative prosthesis) and as a metaphoric device. He analyzes the children's book Steadfast Tin Soldier to exemplify narrative prosthesis and discusses Sophocles' Oedipus the King to exemplify the metaphoric use of disability, which he terms the materiality of metaphor. Other essays in the Enabling Theory section include The Visible Cripple (Scars and Other Disfiguring Displays Included), by Mark Jeffreys; Tender Organs, Narcissism, and Identity by Tobin Siebers; The Politics of Staring: Visual Rhetorics of Disability in Popular Photography, by Rosemarie Garland-Thomson; Compulsory Able-Bodiedness and Queer/Disabled Existence, by Robert McRuer; and Bodies of Difference: Politics, Disability, and Representation, by Lennard J. Davis. essay in this section that may be of most interest to readers of Sign Language Studies is Michael Davidson's Hearing Things: Scandal of Speech in Deaf Performance, in which he discusses the work of Deaf language artists for whom the use of speech and vocalization is a kind of scandal. He focuses on two such artists, Peter Cook and Aaron Williamson. Peter Cook (who attended the Clarke School) and his hearing collaborator, Kenny Lerner, perform as the Flying Words Project; not only does Lerner occasionally speak over Cook's signs, Cook sometimes vocalizes as well, in what Davidson terms an immanent critique of audist ideology. …

Three views on the RAE Design and the computer. Archigram's invisible university

My student years, 1961–67, exactly coincide with Archigram's first and best flourishing and, just as Jon Harris, in my Cambridge Architecture year, was the Cambridge salesman for the first issue of Private Eye, I was the Cambridge salesman for the first issue of Archigram. From this contemporary though partial viewpoint, Simon Sadler's article arq 6/3, pp247–255) seems historically convincing. I might, though, nuance the emphasis on Archigram ‘cultivating the anti-establishment reputation of 1960s youth’ and ‘an ill-tempered generation gap in early 1960s British architecture’. Most people, especially when young, proclaim themselves as outside the establishment tent, pissing in. So it's surely not noticeably ‘ironic’ that pre-War AA students did too. But there seems to me a world of difference between the soft ‘youthquake’ of early 1960s Britain (Quant, Bailey, the other Peter Cook, etc) and the leftist atmosphere of post-1965, the delayed echo in Britain of America's Vietnam and Civil Rights struggles. The first ethos – aesthetic, chirpy, self-mocking, and largely apolitical – nurtured the surrealist technophilia of Archigram's most interesting projects. The second, which really was ill-tempered and anti-establishment, made Archigram seem irrelevant or worse, as the article points out.

Geological Sequestration of Carbon Dioxide

John Bradshaw is Project Manager of Project 1 (Regional Analysis) in the GEODISC research project at the Australian Petroleum Cooperative Research Centre. He has a B.Sc. (Honours) and Ph.D. in Applied Geology from the University of New South Wales. John is an exploration technologist, with a regional knowledge of Australian sedimentary basins, and is employed as a Principal Research Scientist at the Australian Geological Survey Organisation. He has also worked for Esso (Australia) and on staff exchange for a year with WMC Petroleum and Ampolex/Mobil. He has extensive fieldwork experience throughout central Australia and Papua New Guinea, where he consulted for several years. John has previously run major industry-funded research projects examining the petroleum systems of Australia. He is a member of GSA, PESA, and AAPG. Peter Cook is currently Executive Director of the Australian Petroleum Cooperative Research Centre (APCRC) and a director of various companies. Previous positions include Senior Research Fellow (Australian National University), Division Chief-Associate Director (Australian Geological Survey), and Director of the British Geological Survey (1990–1998). It was during his time as Director of BGS that he became interested in the issue of geological sequestration of CO2, and on his return to Australia he established the GEODISC program of the APCRC. He has acted as an adviser to government organizations and companies in Europe, Asia, Australia, and North America, and he has held academic positions in Australia, the United States, France, and the United Kingdom. Peter Cook holds degrees in geology from the United Kingdom, Australia, and the United States. His research career has included studies of the sedimentology, geochemistry, and economic geology of ancient and modern environments in both inland and coastal parts of Australia and the evolution of Australia over the past 500 million years. He was leader of a major UNESCO program …

Translation in the nucleus

![Graphic][1] A nucleus before (left) or after (middle) labeling for translation, or after labeling in the presence of cycloheximide (right). Cook/AAASIf there is actin in the nucleus, then why not translation? Peter Cook (University of Oxford, Oxford, UK) and colleagues propose this

Peter Cook, The Industrial Craftsworker: Skill, Managerial Strategies and Workplace Relationships. London: Mansell, 1996. xvi + 336 pp. £50.00 cloth.

Peter Cook, The Industrial Craftsworker: Skill, Managerial Strategies and Workplace Relationships. London: Mansell, 1996. xvi + 336 pp. £50.00 cloth.

Book Reviews: edited by Wlodymyr Maksymiw

Shaping Women's Work: Gender, Employment and Information Technology. J. Webster Information Space. A Framework for Learning in Organizations, Institutions and Culture. Max H. Boisot The Industrial Craftsworker: Skill, Managerial Strategies and Workplace Relations. Peter Cook Towards a Competent Workforce. Bob Mansfield and Lindsay Mitchell Restructuring Within a Labour Intensive Industry. I. M. Taplin and J. Winterton (eds) Employee Participation in Europe. Herman Knudsen Technology Strategy for Business. David Ford and Mike Saren

LABOUR MARKET IMPLICATIONS OF AUSTRALIAN RESOURCE DEVELOPMENT*

Economic Papers: A journal of applied economics and policyVolume E1, Issue 67 p. 23-30 LABOUR MARKET IMPLICATIONS OF AUSTRALIAN RESOURCE DEVELOPMENT* PETER COOK, Search for more papers by this author PETER COOK, Search for more papers by this author First published: August 1981 https://doi.org/10.1111/j.1759-3441.1981.tb00829.xCitations: 1 * This paper makes no pretence to be an economic dissertation. It is, hopefully, a union movement view from inside the resources boom. Economists and others are left to consider the effects of the views that are put here. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat Citing Literature VolumeE1, Issue67August 1981Pages 23-30 RelatedInformation

Reviews

Journal Article Reviews Get access Samuel Taylor Coleridge: An Annotated Bibliography of Criticism and Scholarship: Volume 1: 1793–1899, edited by Richard Haven, Josephine Haven, and Maurianne Adams. Boston: G. K. Hall; London: George Prior. 382 pp. £14.95. PETER COOK PETER COOK Ilorin, Nigeria Search for other works by this author on: Oxford Academic Google Scholar The Library, Volume s6-I, Issue 1, March 1979, Pages 89–92, https://doi.org/10.1093/library/s6-I.1.89 Published: 01 March 1979

First International Conference of Centres for the Study of Labour History

The first international conference of centres for the study of labour history was held in Mexico City in July 1975. Although some national bodies have met each other in the past, occasionally or regularly, this was the first attempt to bring together representatives of all institutions throughout the world concerned with the study of labour history. The conference was sponsored by the International Labour Organisation and arranged by the Centre for the Study of the History of the Mexican Labour Movement (C.E.H.S.M.O.), to whose initiative participants are indebted. All who attended would wish to express their thanks to C.E.H.S.M.O. for the friendship with which they were received and the generous hospitality extended to them. It was a memorable occasion personally as well as for the study of labour history. In arranging the conference C.E.H.S.M.O. contacted bodies known to it and made inquiries through embassies for other bodies in all countries. Some invited were not able to attend and others have since been identified, as a result of the conference, which were not known at the time. The participants came from: the Australian Society for the Study of Labour History (Dr. Peter Cook and myself) ; the Society for the Study of Labour History of Britain; the International Association of Labour History Institutions, centred in London; the International Insti tute of Social History of Amsterdam; the Friedrich Ebert Foundation of the Federal Republic of Germany; the University of Paris; the Insti tute of the International Working Class Movement of the U.S.S.R. Academy of Sciences; the Institute for the Study of Labour, Costa Rica; C.E.H.S.M.O. itself; representatives of Mexican universities and the Congress of Labour of Mexico. This was by no means a full roll of centres concerned with the study of labour history throughout the world. But it was a good start for a first gathering and in many ways a representative group. Those present showed how many diverse types of institutions enter into the field of labour history and how broadly an international organisation should be conceived. We in Australia should realise this range of approaches and appreciate where we stand in relation to it. The Australian Society is a private body, supported by its sub scribers. It was modelled on the British Society, with which it may be categorised, although the latter has won more effective recognition from universities and trade unions than we have done. Our most active members feel some kind, of commitment to the labour movement and its history, yet we are literally a non-political body, nor do we seek more from trade unions than to stimulate their interest in their past. We are accepted in the academic world without being part of a university or receiving public funds. On the one hand this gives independence, on the other limited resources. It is the outcome of the social, political and ideological conditions in Australia over the fifteen years since the Society was formed. But this is not the only way in which the study of labour history may be organised. The International Association of Labour History Institutions co ordinates the sources for labour history held in about fifty West 71

War as Movie Theater: Two Films

Because their mixtures of material and methods are so volatile and eclectic, what succeeds in many movies is often close to what fails in many others. Trying to view horror through the prism of comedy, Richard Lester came to grief, despite some trenchant moments, with How I Won the War. Yet with The Bed Sitting Room, despite several failures, his off-center, goonish slant works. The horror in the new movie is World War III, rather than II, which in two minutes and 28 seconds including the signing of the peace treaty (though God knows who was left to sign it) has wiped out all but some twenty odd Englishmen. And they are odd, given to running off at the mouth, stomping around in bemused circles, holing up in caves with their tattered obsessions, cracking wan jokes. The film depicts an upended final solution that recreates the problems it solved. The survivors take up where they left off with petty ambition, sexual lunacy (Roy Kinnear's rubber mania), racism, arms stockpiling, religiosity, psychological bedevilments (someone returning to the womb is offered his choice of wallpaper to decorate the place), and despotism (Peter Cook and Dudley Moore in a roving crane ordering everyone to keep moving). The movie's humor derives less from its mixed bag of gags and skits than from the strenuous efforts of all hands to be funny, consequently unnumbed and able to cope with the holocaust they have barely survived. Ripples of nostalgia and memory, mingling with the humors and underscored by a few plangent passages in Ken Thorne's music, are fleeting but strong, despite disruptive gaffes like the flashes to Mao and Wilson leaving 10 Downing Street just at the approach of the B--(a four-letter word that none use). These garrulous caricatures, their English quirks twitching maniacally away, are all of humanity that remains. Working with a brashly theatrical script (the John Antrobus-Spike Milligan play), Lester predictably opens it up by spreading the scenes across a vast landscape. But he also insists on the play's theatricality and tries for a visual style that will combine both approaches. On the one hand, the movie is unabashedly stage-like. David Watkin's lighting and photography are often theatrically multicolored, dividing the screen into layers of orange, red, green. The open-air locations are used as outsized sets, filled with props, details, gadgets. The actors dive headlong into caricature. As Lord Fortnum, who mutates into a bed sitting room and worries lest a y blacks rent him, Ralph Richardson, in particular, is sharper than he has been on the screen in years. Yet the film's post-nuclear world makes these artifices seem quite realistic, in a way. They suggest well-known images of urban pollution-the oil-fouled Santa Barbara beaches, junk yards, filthy waterways. Furthermore, since this postwar setting is happily something that w can still only dream about, the theatrical stylization blends with the realism to form a ream image. The rubble-strewn canyons, the huge mounds of old shoes, the fields of shattered crockery, while never ceasing to resemble stage sets, also embody what we have imagined the world would be after an atomic conflagration. The lighting can be either theatrical spotlighting and atmospherics or poison gas, air pollution, radiation. The locations, even when most stagy, are both naturalistic and reminiscent of real settings in other movies-the jungles and hills of Fires on the Plain, the searing vistas that stun the astronaut in 2001. Lester thus succeeds where he failed in How I Won the War. The earlier movie also featured caricatures going through hopefully surrealistic routines, but the director failed to stylize the locations. Thus, the actions and the dialogues I