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The post Second World War welfare state in Britain was based on three pillars: housing, health and education. This paper focuses on education and critically reviews the post-war school building programme in Britain during the first decade following a publication by the Royal Institute of British Architects entitled New Schools, a milestone in school design in the British Isles. Introducing prefabrication in the design of public schools was the way forward to cater for the significantly large number of school spaces required within a short timeframe. As an effective solution to meet the government's programme, a new aesthetic emerged associated with this mode of construction. These themes are investigated in this study, successes and limitations are identified, criticism levied and final comments put forth. Post-war public schools are a further development of the typology of educational buildings in Britain, a typology which although already present in Northern Europe, left its mark on British architectural history of the twentieth century. This development is an evolution resulting from an awareness of the revolution which industrialization had brought about on war machine production coupled with the emerging political ethic. ; peer-reviewed

This article considers the significance of artist Philip Gurrey's 2008 series of portraits of members of multicultural working-class communities in Beeston, Leeds, in the social, political, and cultural context of the aftermath of the 7/7 bombings. Reflecting on the impetus for making these works, Gurrey has observed that "the predominant rhetoric [in 2007] was almost as if this place was generating extremism" (2014a: n.p.). In his opinion, "the artist's prerogative is to look at the aesthetic generated; the feel and mood of the place as portrayed by the media was completely wrong" (2014b). This essay focuses on The Beeston Series (2008–2009) of paintings, which Gurrey composed by merging and splicing together the features and skin-tones of the suburb's community members, and subsequently exhibited to local audiences at the BasementArtsProject in south Leeds, a space removed from the metropolitan centres that appeared either to dismiss or to demonize them. Drawing on Jill Bennett's explorations of art as the "critical, self-conscious manipulation of media" (2012: 6), this article goes on to explore how such mundane and unsensational, though striking, portraits presented an aesthetic that ran counter to contemporaneous representations of such communities as the breeding grounds of Islamic terrorism. It argues that through such critical, aesthetic approaches, artists in twenty-first-century Britain contest still-dominant discourses around the failure of multiculturalist policies and supposed alienness to indigenous British culture of Muslim identities, and fears about the harbouring of an "enemy within". In doing so, it draws comparisons between Gurrey's regionally-specific paintings and other more metropolitan attempts to depict the aesthetic realities of 7/7, the perpetrators of such attacks, and the multicultural, working-class identities scrutinized in their wake. Works discussed in relation to The Beeston Series include Mark Sinckler's controversial drawing Age of Shiva (2008), and Faiza Butt's Is This the Man (2010) portrait series.

This chapter reflects on the myriad of cultural, sociopolitical, educational and performance traditions in the United Kingdom from the end of WW2 and the rationale for the types and contexts of practitioners and works researched and interrogated in the volume. From this vast topography the authors debate changes in UK's post-WW2 theatre scene, why some concepts and practices have survived and why some have gone out of business. such a landscape calls for a different reading strategy that is designed to both make sense of the selected pieces of works and companies but which more importantly, extends to how researchers and practitioners might read other works. ; University of Northampton Arts & Humanities Research fund

An interdisciplinary account of the political importance of music in modernist literature A new methodology for analysing music in literature, informed by T. W. Adorno, that examines the politics of aesthetics An intensely interdisciplinary book, with an extensive survey and analysis of music's place in Ancient Greek philosophy, German Romanticism, French Symbolism, British Aestheticism, continental philosophy, as well as new musicology, sociology, and analytical philosophy Conceptual re-framing of modernism as an investigation of the problems associated with post-Enlightenment rationality, logic and empiricism Nuanced arguments about the politics of aesthetics and the real-world significance of literary and musical forms Using an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms. Re-assessing music in James Joyce, Ezra Pound and Sylvia Townsend Warner, this book re-shapes temporal, aesthetic and political understandings of modernism, by arguing that music plays a crucial role in ongoing attempts to investigate language, rational thought and ideology using aesthetic forms.

Intro -- Contents -- List of Illustrations -- Acknowledgments -- Introduction: Immigrant Protest: Noborder Scholarship -- In/Visibility -- Part I: The Aesthetic Performance of Immigrant Protest -- Part II: In the Field: Acts of Immigrant Protest -- Conclusion: No Border Scholarship for a Noborder Politics -- Works Cited -- I. The Aesthetic Performance of Immigrant Protest -- 1. Dare to Wear-a Mosque! Immigrant Protest as Cross-Cultural Pedagogy -- Mosque ≠ Dome + Minaret -- Islam Is Not a Monolithic Structure -- Muslim Does Not Mean Terrorist -- The Veil Does Not Equal Oppression -- Notes -- Works Cited -- 2. The Political Aesthetics of Immigrant Protest -- Notes -- Works Cited -- 3. Becoming British: Exploring Citizenship through Arts Practice -- Becoming British -- Blood & Soil: We were always meant to meet . . . -- Notes -- Work Cited -- 4. Border Disorder -- Works Cited -- 5. Loving the Alien: Indigenous Protest and Neo-Colonial Violence in James-Cameron's Avatar -- Racial Cinema -- Anthropological Cinema -- Politics and "Avatar Activism" -- Going Native-Loving the Alien -- Protest and Representation -- Conclusion: Companion Species -- Notes -- Works Cited -- 6. Pedagogy of Rage -- Frozen River in the Classroom: "White Trash"/"Alien Trash" -- (Il)legality and Borders: the Idea of Difference -- The Affect of Rage -- Rage and Pedagogy: "An Ethics of the Affective in the Classroom" -- Coda -- Notes -- Works Cited -- II. In the Field: Acts of Immigrant Protest -- 7. On Israel/Palestine and the Politics of Visibility -- Supplementing the Field of the Visible -- The Iconic Order -- "It seems like you're living on a different planet." -- Notes -- Works Cited -- 8. Everyday Acts of Resistance: The Precarious Lives of Asylum Seekers in Glasgow -- Asylum Seekers, Dispersal, and "Non-Settlement" as the Catalyst for Action.

Developments in small scale theatre and dance sectors, from low to medium scale companies and those that started from one category and then evolved into other formats beg the question as to what the term UK small-scale' theatres really means. This national picture is repeated even more so in the huge body of innovative and often radical works, radical in terms of format, process and contexts, that take place outside mainstream theatre and the practitioners whose works derive from a combination of ideological and artistic motives. This piece interrogates the ideological, social and artistic impulses and trajectory in UK's diverse Asian population that led to the creation of theatres that addressed her lived historical experiences in Asia and the diaspora, and the journey to a distinctive Asian theatre and performance aesthetic in the UK and how the form has not only destabilised generally homogenised concept of Black British theatre and multiculturalism, but evolved important sub-categories in British Asian performances. This development sets the scene for theatre practitioners and critics, notably Jatinder Verma and Tara arts theatre to evade stereotyping and pigeon-holing whilst charting a much wider trans-national agenda for both Asian and non-European performance forms in the UK. Keywords: Diaspora, Asian, 'Binglish', Interculturalism, Multiculturalism, Trans-culturalism.

This article makes four points. First, in making raised, tangible outline pictures, blind people can invent sophisticated treatments for topics they select themselves. Second, their drawings can be realistic. Third, they can also be metaphoric, in showing sounds for example. Fourth, their outline drawings use line for surface edges, and they incorporate aspects of perspective such as profiles. These points are illustrated by three drawings by EW, a blind woman. They are sketches of a couple waltzing, a guitar player, and a samba band. The account of line and profiles given here for the blind, this article argues, applies also to Palaeolithic art, as in Herzog's 'Cave of forgotten dreams' and Cook's 'Ice age art: the arrival of the modern mind'.

Abstract
In this paper I apply the concept of migratory aesthetics to practices of performance and installation art. I begin with two examples of artists-migrants, the Nigerian-British artist Yinka Shonibare and the Vietnamese-American artist Dinkh Q. Lê, and continue with Chinese artists who took the Great Wall of China as the locus but also the main motif of their performances and installations. I selected the work of Concept 21, the Yuanmingyuan group, and Xu Bing. I stress the importance of these art forms in relation to migratory aesthetics. I argue that it is the combination of signifiers inspired by Western art and Chinese iconographies - with sometimes intentionally encrypted symbols - that gives us a better understanding of the mobility and hybridity of aesthetics in times of globalization, which is therefore not restricted to artistic practices of migrants.