David Burrows – författare

By exploring diagrams, diagramming and the diagrammatic across a range of disciplines and arts-led practices, this open access book addresses the gap between diagrams as a widely valued mode of visual representation and their under-examined status within arts and art educationInformed by Charles Sanders Peirce’s understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors’ creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines – most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences. This range of disciplines is evident in the artists and writers discussed, such as Gregory Bateson, Black Quantum Futurism, Salvador Dali, Phillipe Descola, Aristotle, Hilma af Klint, Rosalind E. Krauss, Yayoi Kusama, Louis Hjelmslev, Susanne Leeb, Jacques Lacan, Pauline Oliveros, and George Widener.While the authors approach diagramming as both a technical and poetic activity, their emphasis is on creative, embodied and exploratory modes of diagramming practices, which are capable of engendering new forms, thoughts and experiences. By taking an artistic approach to diagrams and diagramming, by incorporating diagramming as a method of enquiry within chapters, and by exploring their interdisciplinary and multi-perspectival potentials, Drawing Analogies proposes giving new life to the art of diagramming and widening the arena of artistic practice and creative research.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University College London.

By exploring diagrams, diagramming and the diagrammatic across a range of disciplines and arts-led practices, this open access book addresses the gap between diagrams as a widely valued mode of visual representation and their under-examined status within arts and art educationInformed by Charles Sanders Peirce’s understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors’ creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines – most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences. This range of disciplines is evident in the artists and writers discussed, such as Gregory Bateson, Black Quantum Futurism, Salvador Dali, Phillipe Descola, Aristotle, Hilma af Klint, Rosalind E. Krauss, Yayoi Kusama, Louis Hjelmslev, Susanne Leeb, Jacques Lacan, Pauline Oliveros, and George Widener.While the authors approach diagramming as both a technical and poetic activity, their emphasis is on creative, embodied and exploratory modes of diagramming practices, which are capable of engendering new forms, thoughts and experiences. By taking an artistic approach to diagrams and diagramming, by incorporating diagramming as a method of enquiry within chapters, and by exploring their interdisciplinary and multi-perspectival potentials, Drawing Analogies proposes giving new life to the art of diagramming and widening the arena of artistic practice and creative research.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University College London.

The Cosmopolitical Functions of Art and Theory proposes that contemporary art has developed new aesthetic and pedagogical functions by presenting metaphysical perspectives that generate alternatives to the narratives and social and political legacies of the Enlightenment, modernism, globalisation and colonialism.This volume introduces the concept of onto-fictioning, practices presenting ontological and cosmological perspectives, addressing developments in contemporary art influenced by discourses that include the ontological turn in anthropology, and a concern for environmentalism as well as blackness and postcolonialism in the Arts and Humanities. Two concepts in particular run throughout the book: cosmopolitics (concerning the ways in which defining reality is political) and cosmotechnics (concerning the relation of moral or social orders and the cosmos, articulated through technical activities or approaches to technology). Artworks that present fiction to generate encounters with multiple ontological and cosmological perspectives present narratives that differ, diverge or deviate from modern and globalising narratives, troubling the narrative of one-world shared by one-people and other similar narratives. The book engages with diverse artists and thinkers including John Akomfrah, Yuk Hui, Lawrence Lek, Fred Moten, Tai Shani, Susan Stengers, Eduardo Viverios de Castro and Sylvia Wynter.

Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O'Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of `post-truth' and `perception management'. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come.

Can you hear the child’s voice?The Court of Appeal have commented that the family courts are ‘still feeling their way forward in order to determine how best to ‘hear the voice of a child’.In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law.It concentrates on:Children in court proceedings, particularly in family proceedingsContrasting the way courts hear children’s views with the way their evidence is heardAny rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child’s ‘understanding’ in court proceedings, and the way that term varies according to a child’s age and the issue before the court.Legislation and case law covered and analysed includes:Children Act 1989 and applicable Family Procedure Rules 2010Human Rights Act 1998 and European Convention 1950Civil Procedure Rules 1998LASPO Act 2012Youth Justice and Criminal Evidence Act 1999Re D (A Child) (International Recognition) – child’s right to be heardRe W (A Child)– rules for child representation in hearingsP v A Local Authority (Fam) – legal aid and statutory damagesRe W (Children) (Abuse: Oral Evidence) – child’s evidenceR (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for childrenProtocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013Achieving Best Evidence: Guidance on interviewing children March 2011This title is included in Bloomsbury Professional's Family Law online service.

How far does a client’s or a child’s confidentiality extend on family breakdown?Understand the fundamental importance of legal privilege, privacy and confidentiality in family breakdown and in family court proceedings.Looking at the duties of confidentiality of all practitioners involved in family proceedings, this title puts privilege, privacy and confidentiality in its common law context. It considers and contrasts that family proceedings are almost always heard ‘in private’; and explains how this rule sits with common law principles. It singles out the particular issues in care proceedings where there are parallel criminal proceedings and explains the differences in law and on statutory guidance between the duties of confidentiality between lawyers, doctors and social workers.This new title helps you tackle questions such as:Is a child entitled to confidentiality; or is it correct, as Working Together guidance says, that the mature child’s confidences should be ‘shared’?When can privilege be overridden; and when does it not apply?Does without prejudice immunity cover a mediator?When are closed materials procedures appropriate in children proceedings?This title is included in Bloomsbury Professional's Family Law online service.

This study deals with time and with music, and the link between the two is the suggestion that music is a modeling of the way we construct time. Time—the now, duration, succession and order of succession; the past, the future—is seen as a resource for managing systemic disequilibrium and as the evolutionary elaboration of the now. As organic dynamical systems humans maintain themselves by means of self-regulatory actions, nows, and these nows are proposed as feeding off a pre-temporal, interindividually accessed energy in nature, an ongoing cosmic proto-present. Speech is a way out of sensory immediacy and a way into a complex shared world where coordination and planning take place away from the distractions of the present as given by the senses. Music is presented as one of a group of behaviors comprising the arts and games that evolved in parallel with language to compensate for its abstractness. Language tends to the complexly abstract and music favors the complex, sensorially concrete: like speech, music operates on a synthetic plane, but provides synthetic occasions for sensory immediacy at a level of complexity to match that of language.