Roehampton University Research Articles

Computing: Supporting effective teaching

The computing curriculum is now in place and we have a fairly clear idea about what we should be teaching. Two months in to the new curriculum, Miles Berry, of the University of Roehampton, discusses effective teaching strategies and how schools can support this new subject

Identifying Factors that Influence the Uptake and Use of Moodle by Academics in three Arts Departments at Roehampton University

This paper explores factors influencing both the take up of Moodle at Roehampton University and the ways it was used by academics to support learning and teaching. It builds on the work of others who have sought to explore and explain why the introduction of various technologies in higher education have not transformed teaching practice in ways anticipated. This study also sought to inform policy and practice in the provision of support for academics in their use of learning technologies.

Out of context: ‘Control & Surrender’ revisited and remixed

Abstract A self-reflective consideration of remixing, reconsidering and (re-)presenting live a previously written collaborative book chapter on Brian Eno’s collaborations and his use of Oblique Strategies cards. The piece also considers the presentation in relation to other papers at the Modular Forms conference at Roehampton University, and was written in response to randomly drawn Oblique Strategies cards.

Media and public shaming: drawing the boundaries of disclosure

Foreword - Baroness O'Neill of Bengarve Introduction - Julian Petley 1.To Punish, Inform and Criticize: The Goals of Naming and Shaming - Jacob Rowbottom, Oxford University 2.Public Interest or Public Shaming - Julian Petley, Brunel University 3.The Right of the Press to Know or the Individual Right to Privacy - Brian Chama, Roehampton University 4.Privacy and the Freedom of the Press: A False Dichotomy - Simon Dawes, Nottingham Trent University 5.Disclosure and Public Shaming in the Digital Age - Hanne Detel, Eberhard Karls Universitat Tubingen, 6.Public Shaming of Individuals and Companies through Social Media - Desislava Manova-Georgieva, Sofia University 7.Differences in Self-disclosure among Cultures: A Comparative Study in Social Networking -Jingwei Wu, Free University Berlin 8.Comparing Crime Rituals in Sweden, Holland, England, and North America - Romayne Smith Fullerton, University of Western Ontario and Maggie Jones Patterson, Duquesne University 9.The DSK Scandal: Mediating the Desire for Authenticity - Julia Lefkowitz, American University Paris 10.Public Interest and Individual Taste in Reporting an Irish Minister's Illness - Kevin Rafter, Dublin City University 11.Public Figures, Privacy and Co-regulation: The David Campbell Affair - Tim Dwyer, University of Sydney 12.Naming and Shaming an Innocent Man: Allegations Against John Leslie - Adrian Quinn, Leeds University 13.British Journalism after the News of the World - John Lloyd, Financial Times and Reuters Institute

The Choreography of Space: Towards a Socio-Aesthetics of Dance

With its emphasis on the socially constructed and mobile nature of ‘space’, Henri Lefebvre's theory of spatial production presents rich possibilities for a sociocultural analysis of choreography. In this article Arabella Stanger uses an examination of social space and spatial aesthetics as a basis upon which to develop a socio-aesthetics of dance – an approach in which the societal contexts and the aesthetic forms of choreography are understood to be fundamentally interrelated. Borrowing from Lefebvre's The Production of Space (1974) and Maria Shevtsova's sociology of the theatre and performance, Stanger establishes the theoretical parameters and methodological steps of such an approach, and locates a short illustrative example in the socio-spatial formations of Aurora's Act III variation from Marius Petipa's The Sleeping Beauty (1890). Ultimately extending a bridge between formalist and contextualist strands of dance studies, the article argues for the use of a particular concept of space in understanding choreographic practice as social practice. Arabella Stanger is Lecturer in Dance at the University of Roehampton. Having trained in classical ballet, she completed her MA and PhD studies at Goldsmiths, University of London, and has published on the work of Merce Cunningham, Michael Clark, and William Forsythe.

A Compelling Conference Addressing Underlying Themes in Child and Adolescent Psychopathology Research, Assessment and Treatment

Child and Adolescent Psychopathology is becoming increasingly common and has been associated with a range of negative outcomes, including poor educational attainment and suicide [1]. Therefore, it is an area of substantial concern and uncertainty, which was demonstrated by the 200 delegates who attended and presented their findings at the 9th International Conference of Child and Adolescent Psychopathology (ICCAP). Professor Cecilia Essau hosted the stimulating and enjoyable three-day conference at the picturesque University of Roehampton. Delegates presented innovative findings from a range of psychological disciplines and 42 countries, including South Africa, Mexico and Taiwan. I will discuss a few particularly interesting and innovative studies, to give you a feel of the conference and the findings presented.

Notes on Contributors

Notes on Contributors

Could Audio-Described Films Benefit from Audio Introductions? An Audience Response Study

Introduction Time constraints limit the quantity and type of information conveyed in audio description (AD) for films, in particular the cinematic aspects. Inspired by introductory notes for theatre AD, this study developed audio introductions (AIs) for Slumdog Millionaire and Man on Wire. Each AI comprised 10 minutes of continuous description incorporating information about the film's visual style, fuller descriptions of characters and settings, a brief synopsis, and cast and production details. The AIs were tested with participants who are blind and have low vision. Method Twenty-four visually impaired volunteers listened to the AIs before or after watching the films with AD, and gave feedback about their experience, either at sessions organized at the University of Roehampton, United Kingdom, or at home. Results This was a small-scale, exploratory study that showed a positive response to the concept of AIs for film. Most participants felt the AIs helped bring the films to life and made them easier to follow. The majority of participants wanted AIs for other films. Discussion AD guidelines discourage describers from mentioning camera work, yet most participants reported that this information in the AI was not too technical, and that the proportion of the AI devoted to visual style was about right (14 of 20 for Slumdog Millionaire, 14 of 16 for Man on Wire). Only a minority felt that the AIs “told me things I could find out for myself.” This suggests that access to screen media for people with a visual impairment can be enhanced by additional cinematic and other visual information. Implications for practitioners Given the limited time available for description during the film itself, AD providers should consider the use of AIs as a complement to standard film AD. These audio introductions could be stand-alone or accessed from a website.

A Conversation with Allan Hobson

My wife Janice Brooks and I self-published our book The Conscious Exploration of Dreaming in 2000. As experienced lucid dreamers, we wanted to add our voices and detailed observations to the discussion about the implications of lucid experiences for dream theory, especially since so many others had failed to take naturalistic perspectives into account. Allan Hobson encouraged our efforts and wrote a foreword for our work, and even introduced some of our ideas to his contemporaries. That relationship with Allan grew into a friendship over time. While visiting Allan at his farm in East Burke, Vermont last summer, I took the opportunity to record his answers to some questions I had worked up beforehand, after reading his paper “EGO ERGO SUM” that will be published in the journal Contemporary Psychoanalysis (In Press) and is a precis of Allan’s book on Dream Consciousness (Springer Verlag, In Preparation). The book will carry Allan’s three William James lectures given at Roehampton University in London and will be published along with 25 Commentaries by Springer Verlag in a volume sponsored by the Vienna Kreis, Friedrich Stadler, Director. This conversation was recorded on Monday morning July 16, 2012 as we sat at the breakfast table on his sun porch.

A “United” Kingdom: The London 2012 Cultural Olympiad

January 01 2013 A “United” Kingdom: The London 2012 Cultural Olympiad Josh Abrams, Josh Abrams JOSHUA ABRAMS is principal lecturer in the department of drama, theatre and performance at the University of Roehampton and an assistant editor of PAJ. He researches and teaches broadly in areas of contemporary and experimental performance, as well as the intersection of these with ethics, politics and philosophy. His essays and reviews have appeared in a variety of collections and journals, including PAJ, Theatre Journal, TDR and Western European Stages. Search for other works by this author on: This Site Google Scholar Jennifer Parker-Starbuck Jennifer Parker-Starbuck JENNIFER PARKER-STARBUCK is a reader in the department of drama, theatre and performance at the University of Roehampton, London. She is author of Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance (Palgrave Macmillan, 2011), and is an assistant editor of PAJ and associate editor of International Journal of Performance Arts and Digital Media. Search for other works by this author on: This Site Google Scholar Author and Article Information Josh Abrams JOSHUA ABRAMS is principal lecturer in the department of drama, theatre and performance at the University of Roehampton and an assistant editor of PAJ. He researches and teaches broadly in areas of contemporary and experimental performance, as well as the intersection of these with ethics, politics and philosophy. His essays and reviews have appeared in a variety of collections and journals, including PAJ, Theatre Journal, TDR and Western European Stages. Jennifer Parker-Starbuck JENNIFER PARKER-STARBUCK is a reader in the department of drama, theatre and performance at the University of Roehampton, London. She is author of Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance (Palgrave Macmillan, 2011), and is an assistant editor of PAJ and associate editor of International Journal of Performance Arts and Digital Media. Online ISSN: 1537-9477 Print ISSN: 1520-281X © 2012 Josh Abrams and Jennifer Parker-Starbuck2012 PAJ: A Journal of Performance and Art (2013) 35 (1 (103)): 19–31. https://doi.org/10.1162/PAJJ_a_00121 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Josh Abrams, Jennifer Parker-Starbuck; A “United” Kingdom: The London 2012 Cultural Olympiad. PAJ: A Journal of Performance and Art 2013; 35 (1 (103)): 19–31. doi: https://doi.org/10.1162/PAJJ_a_00121 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsPAJ: A Journal of Performance and Art Search Advanced Search This content is only available as a PDF. © 2012 Josh Abrams and Jennifer Parker-Starbuck2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Say the Word and MOVE

Say the Word and MOVE considers labour in relation to the collaborative process that led to the making of MOVE, a performance emerging from the AHRC Creative Research project led by Terry O'Connor at Roehampton University, where O'Connor is Creative Fellow. MOVE, a piece made with Wendy Houstoun and Joe Kelleher is part of the Say the Word project wherein O'Connor uses single words sent by fellow artists to instigate the making of new collaborative performances. The word ‘move’, sent by Houstoun, continued an ongoing artistic conversation between Houstoun and O'Connor around the place of movement in performance and performance lineage. MOVE was performed by Houstoun and O'Connor, with contribution from Kelleher, at Roehampton University in May 2011: “In 1982 or thereabouts, I helped set up a student society to bring performing artists to the University of Exeter. Mary Faulkerston, Lol Coxhill, Forkbeard Fantasy and Anthony Howell were amongst them. Anthony Howell and Ting, Theatre of Mistakes performed a piece called Table Moves, in which, as I remember, he re-arranged furniture through strict geometric rotations carrying buckets of water over the resultant stepping stones. A fight over the piece broke out in the car park. My boyfriend got punched for putting the piece on. In thinking about this word MOVE, I've been wondering if the heated formal questions in the air that night in Exeter, can be addressed again, now, how our engagement with movement has evolved. And also, I suppose, whether certain fundamental questions can and must be asked over and again: Why Move? Move How? Move What? Where? for How Long? Why watch?”

A study on the inclusion of deafblind young people in mainstream schools: key findings and implications for research and practice

This article, written by Leda Kamenopoulou of Roehampton University, reports a research project on deafblindness and inclusion in education. Deafblindness is a rare and therefore significantly under‐explored disability. Even less systematic research has focused on deafblind young people enrolled in mainstream schools. The study presented here used a multiple case study and mixed methods design to explore the social inclusion and participation of four deafblind pupils in mainstream placements. Interviews were conducted with the pupils, their parents and selected teachers regarding their peer interactions and relationships. Semi‐structured observations of peer interactions during school breaks were also conducted to complement interview data, but due to space constraints, these are not discussed here. Findings from the interviews suggest that the young people were socially present in their schools, but all faced certain issues in terms of being fully included. Both barriers to and facilitators of social inclusion and participation are discussed with reference to implications for research and practice.

Human Rights and Social Policy: Challenges and Opportunities for Social Research and Its Use as Evidence in the Protection and Promotion of Human Rights in Scotland

This article is the result of a joint project conducted by University of Roehampton and the Scottish Human Rights Commission, undertaken between March 2010 and April 2011. The article describes the methodological challenges encountered in the data collection phase of the project and addresses the conceptual relationship between social science and human rights research. It argues that social policy and social sciences research has an important contribution to make in the promotion and protection of human rights and demonstrates the use of the Research in Scotland's National Action Plan for Human Rights, being prepared by the Commission during 2012–13.

A Research Interview: Dramatherapy and Cross-Cultural Awareness

The following interview is based on research by Mandy Carr in 2009, for a ‘top up’ MA at Roehampton University, London, entitled ‘An investigation into the importance of raising cross-cultural awar...

Does alcohol consumption really affect asymmetry perception? A three‐armed placebo‐controlled experimental study

A possible explanation for increased levels of attractiveness of faces when under the influence of alcohol is the reduced ability to perceive bilateral asymmetry. This study tested the degree of preference by alcohol-dosed and non-alcohol-dosed participants for symmetrical faces and their ability to detect facial symmetry, while controlling for other explanations. Volunteers were recruited to a random allocation experiment with three conditions: alcoholic drink (alcohol dosed), non-alcoholic drink (placebo) and diluted orange cordial (control). Data on concentration, personality and demographics were collected. Dependent variables were symmetry preference and detection. Laboratory, University of Roehampton. A total of 101 participants, mainly students (41 alcohol-dosed, 40 placebo, 20 control). Participants provided verbal responses to images of faces which were presented on a computer screen for 5 seconds each; the first task required a preference judgement and the second task consisted of a forced-choice response of whether or not a face was symmetrical. Levels of concentration, weight and level of alcohol dose were measured, and demographics plus additional psychological and health information were collected using a computer-based questionnaire. In contrast to a previous investigation, there was no difference in symmetry preference between conditions (P = 0.846). In agreement with previous findings, participants who had not drunk alcohol were better at detecting whether a face was symmetrical or asymmetrical (P = 0.043). Measures of concentration did not differ between conditions (P = 0.214-0.438). Gender did not affect ability to detect symmetry in placebo or alcohol-dosed participants (P = 0.984, 0.499); however, alcohol-dosed females were shown to demonstrate greater symmetry preference than alcohol-dosed males (P = 0.004). People who are alcohol-dosed are subtly less able to perceive vertical, bilateral asymmetry in faces, with gender being a possible moderating factor.

The Afterlives of animals: a museum menagerie

In the quiet halls of the natural history museum, there are some creatures still alive with stories, whose personalities refuse to be relegated to the dusty corners of an exhibit. The fame of these beasts during their lifetimes has given them an iconic status in death. More than just museum specimens, these animals have attained a second life as historical and cultural records. This collection of essays from a broad array of contributors, including anthropologists, curators, fine artists, geographers, historians, and journalists comprises short biographies of a number of famous taxidermized animals. Each essay traces the life, death, and museum afterlife of a specific creature, illuminating the overlooked role of the dead beast in the modern human-animal encounter through practices as disparate as hunting and zookeeping. The contributors offer fresh examinations of the many levels at which humans engage with other animals, especially those that function as both natural and cultural phenomena, including Queen Charlotte's pet zebra, Maharajah the elephant, and Balto the sled dog, among others. Readers curious about the enduring fascination with animals who have attained these strange afterlives will be drawn to the individual narratives within each essay, while learning more about the scientific, cultural, and museological contexts of each subject. Ranging from autobiographical to analytical, the contributors' varying styles make this delightful book a true menagerie. Contributors Samuel J. M. M. Alberti, Royal College of Surgeons * Sophie Everest, University of Manchester * Kate Foster * Michelle Henning, University of the West of England, Bristol * Hayden Lorimer, University of Glasgow * Garry Marvin, Roehampton University, London * Henry Nicholls * Hannah Paddon * Merle Patchett * Christopher Plumb, University of Manchester * Rachel Poliquin * Jeanne Robinson, Glasgow Museums * Mike Rutherford, University of the West Indies * Richard C. Sabin, Natural History Museum * Richard Sutcliffe, Glasgow Museums * Geoffrey N. Swinney, University of Edinburgh

Respeaking in Translator Training Curricula

Training in respeaking as a method to produce live subtitles for the deaf and hard of hearing was originally designed and developed by the audiovisual industry. In recent years, however, academia has played a leading role in the expansion of respeaking through a growing range of specialized training courses run by European institutions. This article places respeaking within the wider context of audiovisual translation, outlining the most distinctive features of this form of audiovisual transfer and examining the main professional competences that respeaking companies demand. It then gauges the impact of early pedagogical proposals for respeaker training (Arumí and Romero 2008). Drawing on the author’s involvement in respeaking modules taught at Universitat Autònoma de Barcelona, University of Roehampton and Universi-dade de Vigo, the article addresses a number questions pertaining to the role that respeaking plays within the wider translator and interpreter training scene; the feasibility of teaching respeak-ing online and/or to multilingual groups; the interface between respeaker, interpreter and subtitler training; students’ views on the relative difficulty of respeaking vis-à-vis other forms of linguistic mediation; and the role of applied student-led research in respeaking courses.

Being Contemporary

Being Contemporary

Encounters with the Unexpected: From Holbein to Hirst (and Back Again)

Abstract Learning through art in the museum is a Masters’ level module established in 2006 through collaboration between the School of Education at Roehampton University, London and Interpretation and Education staff at Tate Britain and Tate Modern. On completion of the module, participants were asked to reflect on how the experience had altered their perspectives on the collection and their strategies for teaching and learning in art and design. The aim of this article is to explore some of the themes that emerged from these interviews and from other dialogue between tutors and students on the module, themes that are then discussed within the wider context of museum and gallery education.The article concludes by reflecting on broader notions of knowledge and understanding in the context of museum and gallery education. It is argued that the juxtapositions of historical, modern and contemporary art that have been a distinctive feature of Tate's curatorial strategy since 2000 have shed fresh light on older works in the collection and provide opportunities for art educators to reappraise the emphasis currently placed upon the interpretation of modern and contemporary work. It is suggested that developing knowledge and understanding of art is partly about embracing notions of ambiguity and mystery: that engaging with multiple and shifting interpretations of artworks should play a more central role in art education and that part of the process of engaging with art is the experience of not knowing and not understanding.

Kant and Trade Unions

PHILOSOPHY OF TRADE UNIONRIGHTS□ KANT Kant and Trade Unions I Kant's us what think people about agents to as autonomous understand it rather employees unselfishly ideas treated own means the are in ways used their right than help as to us to understand what itmeans to thinkunselfishly about theways people are used as employees ratherthan treatedas autonomous agents intheir own right NINA POWER, Senior Lecturer in Philosophy, University of Roehampton (with thanks to Tom O'Shea) What the have duties relation to morality? that do unions or How should have can to trade we their theorise unions memhave to morality? How can we theorise theduties that unionshavetotheir members (and viceversa)? The philosophical ideasof ImmanuelKant (1724-1804)may seem at first glancerather distant from theday-to-day practical concerns that unionsandtheir members have,but Kant'smoraltheory canhelpus tothink wellnot only about the obligations thatcome froma sharedsetofprinciples butalso,via hispolitical writings, whatitmight meanto defendtheidea thatthe freedom to thinkis dependenton the freedomto communicate publicly.This short essay will examineKant's"dutyethics"before examining whatKanthad to sayaboutparticipationinpublicand political life.WhileKantoperateswithsomewhat strict ideasaboutreason, universalism and moralwill,thereis muchthatis important here in trying to thinkabout how unionscanpractically extend rights totheir members and beyond,and what it means to think unselfishly aboutthewaysin whichpeople are often used and abusedas employees rather than treated as autonomous agentsintheir ownright. Kant'srather austereapproachto morality is based aroundtheidea ofthe"categorical imperative ": herehisidea ofdutyemerges. As implied in thewording, a categorical imperative is one thathas an unshakeablequality aboutit,and is not simplysomething we mighthypothetically choosetodo (ornotdo). Although there aredifferent waysofphrasing thisimperative, thereis ultimately onlyone imperative in Kant'smoral thought: 'Actonlyon thatmaximthrough which you can at the same timewill thatit should becomea universal law'.Whatdoes thismean?If I promise you something I knowI cannotdeliverupon ,forexample,I cannotlogically extrapolatefrom thisfalsepromiseto arguethateverybody should make false promises,not least because thenI wouldn'tbe able to make false promises in thesafety thatthiswould be a rare occurrence and thereforedisguisable. Kant arguesthatforour morality to be rational and viceversa,andthat ifwe cannotuniversalise our behaviour (i.e. wantanyoneelse in ourposition to do the same thing),thenwe are probably doingsomething immoral. Kant's universalism isbasedon a sharednotion of human reason that has perhaps become unfashionable, but nevertheless we can understandthepointthatifyou do something moral, therefollowsa kindof expectation thatothers wouldhavedone,orwilldo,thesamething: we are capable of putting ourselvesand actingin such a way as to understand thingsfromthe pointof view of anotherin an unselfish way. Kantdoesn'tdenythat, as individuals, we have particular interests, but that sometimesthese interests come second to our desireto do the right thing, toactuniversally: when,ina split-second , someonedecidesto jumpintoa pond to rescuea stranger, he orsheis notthinking about personal interests(safety) or about reward (acknowledgement forperforming a heroicact). Rather, thepotential rescuer is acting becausehe or she can and feelstheyshouldact,becauseit is theright thing to do. Thisis whatmoralfreedom meansforKant,and whatmeansforhim that we arenotsimply puppetsblindly operating ina determinisi universe. Whenquestioned, people who haveactedto save others indangerous situations will oftensay 'anyonewould have done thesame,'echoingKant'sunselfish vision ofuniversal morality. Kantisnotparticularly concernedwithconsequences ,butonlywithintention :iftherescuer haddrowned intheattempt to save someone,we would hardlyregardtheir actionas less heroic,as less moral,and on that pointKantseemscorrect. Trade unionmembership How does thisdiscussion ofmoralliferelateto thedutiesandrights boundup withunionmembership ? WhileKantwouldnothaveencountered tradeunionsas we understand themtoday, and was highly sceptical oforganised political activity and suspiciousof secretsocieties,thereis something rather Kantian aboutthefamous trade unionslogan:'an injury toone is an injury toall'. Similarly, Kant'sidea, relatedto thecategorical imperative, thatwe shouldtreatpeople notas means to an end but as ends in themselves ('Alwaystreathumanity, whether in yourown person or thatof another,neversimplyas a meansbutalwaysatthesametimeas an end')is highlycompatiblewith the 1944 Aims and PurposeoftheInternational LabourOrganisation whichincludethe claimthat'Labouris not a commodity'. Capitalist labourrelations ofcourse entail theexactopposite, whichistosaythat one hastomakeone'slabourprecisely a meanstoan end(the'end'herebeingthewage),andthere is an argument we couldtakefrom Kantregarding theunmoral orimmoral nature ofthecurrent system . Unions attempt to protectworkersfrom theirincreasing instrumentalisation in thename of profit, by fighting forbetter working conditions ,shorter hours,better pay,to protect pension rights and so on, and as suchupholdthe dignity and moralcharacter oftheworker as an autonomous being,insofar as thisispossibleina system predicated on thenecessity for themajorityto have to treatthemselves as meansrather thanends.Thefeeling ofhaving todo something we don'twanttodo (workeverharder, orgetup early, for example)isa negative realisation ofour freedom, butan inkling nonetheless. INTERNATIONAL union rights...