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IQ
contents spring 2008
Publisher/Editor
12 International Dialogues...
IQ / Thinking in Colour
ISSN 1478-7350
©2008 Intellect Ltd. No
22 John Scheinfeld
articulating their thoughts and
then bring them to as wide
a readership as possible. We
choose authors and editors
Interview with the Director of The U.S. vs. John Lennon who in backing their ideas,
are willing to be part of our
publishing process by investing
their energy and resources as
Q&A » 04 Sam King | 24 Birgit Beumers | 28 Book Reviews | 30 Green Thinking needed in cooperation with us.
www.intellectbooks.com
IQ Spring 2008 | 3
Q&A
iQuote » “Creativity requires the courage to let go of certainties.” – Erich Fromm
Sam King
their portfolio. Moreover, this and consistency, the copyediting
also involves employees in does not try to mould content into
understanding and evaluating a house style or interfere with the
their professional development. authorial voice. Intellect strives to
An interview with Intellect’s Marketing Manager Intellect is committed to investing represent the author authentically
in new talent and has developed rather than to appease the reader.
a graduate ‘incubator’ concept We aim to foster close working
within its own structure, offering relationships between editorial and
How did you become involved and mainstream culture within recent graduates part-time jobs marketing personnel and authors
with Intellect? a lively festival programme. The while they find their feet. The and editors that proves to be
I had always wanted to work in an visual culture magazine, Film company also offers both living mutually beneficial. We place great
environment where the circulation International (published by Intel- and working accommodation emphasis on providing a service to
of creative ideas was the central lect) agreed to act as an intellectual in the building above Intellect’s our authors and editors, ensuring
focus. My degree provided me resource for the festival and its in- offices in Bristol. The aim is to that they feel fully involved and
with the academic background ternational dimension. This ambi- make self-employment a viable satisfied with the publishing
to pursue this ambition, and tion has led to the development of option for graduates in art, media process. This collaborative
complemented an attentive interest a full and extensive programme of and design through the provision practice is very well received, and
in creative industries. Following an festival events spanning two weeks of an engaging living and working the company continually receives
initial meeting at Intellect, I began in Bristol, and establishment of environment. positive feedback.
a work placement as Publishing a community interest company,
Assistant in 2005. Since then I Compass Film, of which I am Di- What is Intellect about? What is your Unique Selling
have been involved in a range of rector and one of the main festival Intellect is an independent Point?
roles within the company, from organizers. Now in its third year, academic publisher whose focus Intellect has found that there
copy-editing and production the company also seeks to widen is creative media and popular is a real demand from authors
management, to marketing and its focus to host various other arts culture, publishing scholarly books and editors to get their original
publicity. I have recently taken on and community related events and journals that exemplify our material published. In the
the position of Marketing Manager. throughout the year, culminating mission as publishers of original past, the company was not able
in the international film festival thinking: accepting proposals and to increase book and journal
What are your general weekend in the autumn. commissioning based on the merit production to meet this demand
interests outside of Intellect? of ideas rather than sales. Intellect due to prohibitive production
In 2006, I had an idea to unite the Could you describe Intellect’s aims to provide a vital space for and marketing costs. However,
two conflicting worlds of academic recruitment policy? widening critical debate in new Intellect has now developed a
4 | Thinking in Colour
Sam King
iQuote » “My advice to young film-makers is this: don’t follow trends, Start them!” – Frank Capra
IQ Spring 2008 | 5
Film Studies
iQuote » “If my film makes one more person miserable, I’ve done my job.” – Woody Allen
David Cronenberg
An Author Looking for a Text
By Mark Browning
For more than 25 years, Cana- Amis’ London Fields (1989). Looking man thought. Theoretical discussion Below
dian director David Cronenberg has closely at such texts reveals fascinat- of adaptation is often bogged down Naked Lunch
Novel by William Burroughs
adapted the literary works of others, ing features of Cronenberg’s work, in repetitive case studies, partly due
Bottom
including Naked Lunch (1991) from e.g. his frequent use of a perpetual to what Brian McFarlane terms ‘the Naked Lunch (1991)
William Burroughs’ 1959 experi- present tense, narrative structures fidelity issue’. Notions of remaining By Hillary Mushkin and S. E. Barnet
mental novel, Crash (1996) from J. G. that might be described as spiral faithful assume that there is an ir-
Ballard’s 1973 cult text, Spider (2003) or centripetal and the direct and reducible core meaning to an original
from Patrick McGrath’s dark 1990 unattributed ‘borrowing’ of images, source text but it is not always obvi-
account of a mental patient’s subjec- plotlines and dialogue from a range ous as to precisely what the film-mak-
tive universe and A History of Violence of literary texts. er should be faithful. More precisely,
(2005), based on John Wagner and The idea of using literary texts as Neil Sinyard reminds us, ‘adapting
Vincent Locke’s 1997 graphic novel. to illuminate film is not new. In a literary text for the screen is es-
Even films not seemingly adaptations 1969, Peter Wollen asserted that ‘we sentially an act of literary criticism’,
draw on previously-written mate- need comparisons with authors in which should serve to illuminate both
rial, for example, Dead Ringers (1988) the other arts: Ford with Fenimore source text and filmic version drawn
derives directly from Jack Geasland Cooper, for example or Hawks with from it. By drawing on literary texts
and Bari Woods’ novel Twins (1977). Faulkner’ and it could be argued that are by reputation infamous and
Cronenberg’s literary awareness is that, as Leonard Bernstein believed, experienced primarily on Higher
present in abandoned projects, such ‘the best way to “know” a thing is in Education courses, and by choosing
as Mary Shelley’s Frankenstein, Brett the context of another discipline’. to retain their titles, Cronenberg ap-
Easton Ellis’ American Psycho and Total However, there remains a stubborn pears to seek the endorsement of the
6 | Thinking in Colour
David Cronenberg
iQuote »“A painting in a museum hears more ridiculous opinions than anything else in the world.” – Edmond de Goncourt
FURTHER READING
David Cronenberg:
Author or Film-maker
By Mark Browning
£19.95 / $40
ISBN 9781841501734
Published October 2007
Over the past three decades, the
director David Cronenberg has
drawn upon themes prominent
in works of literature by William Burroughs and J.G. Ballard to sur-
prising and often shocking effect. This volume looks at the literary
and psychological motivation behind Cronenberg’s film releases, but
also discovers how other underground and mainstream fiction can
help the viewer to unravel his films. Browning investigates this at
very cultural establishment against
a deeper level, examining Cronenberg’s films and comparing them
which he seems to rebel.
to works of literature by innovative authors such as Angela Carter,
Largely missed by critics, in
Vladimir Nabokov and Bret Easton Ellis.
2005 he produced a coffee-table
This book is only the second single-authored study on Cronen-
book, Red Cars, a history of the 1961
berg and as well as containing the first detailed analysis of eXistenZ
Formula One Championship battle
between Ferrari rivals Phil Hill and
(1999), Spider (2003) and A History of Violence (2005), it applies
Wolfgang Von Trips, including a contemporary criticism to the director’s work and explores how
script for an unmade movie. The prominent texts can shed light on the often disturbing and puz-
book, hand-bound with an alumi- zling world of Cronenberg’s films. It links to the wider context of
num cover and limited to only 1000 adaptation and interpretation studies and seeks to address the
copies, is a self-conscious object fundamental questions and literary aesthetic behind Cronenberg’s
d’art and Cronenberg describes challenging works.
how it is a ‘way for me to create my
read
film without actors and film crew Above and below
this book linked to a website and A History of Violence (2005)
Directed by David Cronenberg
to an exhibition’. However, even
Bottom
here the multi-media ‘Red Cars’ The 1997 graphic novel written by
project, including lectures and a John Wagner and Vincent Locke
more
very similar activities by Ballard in
the 1970s. Cronenberg likes to cite
Borges’ statement that ‘a phenom-
enon like Kafka actually creates his
own precursors, linking together
strings of writers not seen to be
connected before’, but it is highly
debatable to what extent Cronen-
berg does create his own precur-
sors and to what extent his work
is ever truly free of influence from For a full list of our books and journals, visit
source texts. { www.intellectbooks.com
IQ Spring 2008 | 7
new2009
journals www.intellectbooks.com
intellect
publishers of original thinking
intellect
publishers of original thinking
art&design
Books2008
Reading
Bande
Dessinée
Critical Approaches to
French-language Comic Strip
By Ann Miller
The cultural profile and popularity of bande dessinée is at its highest ever in
France and is being increasingly read and studied worldwide. Ann Miller’s Reading
Bande Dessinée reflects the developing diversity of readership by providing a
framework for the academic study and critical analysis of bande dessinée.
Miller offers guidance on how to read bande dessinée as a visual narrative art
form, and also contextualizes the form within its historical and contemporary
culture. The multi-disciplinary approach to bande dessinée found in this volume,
for example literary, post-colonial and autobiographical readings, presents an
easily accessible critical understanding for students.
ISBN 9781841501772 / Paperback / 272 pages / £19.95 / $40
readmore
learnmore!
Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
www.intellectbooks.com/ orders@intellectbooks.com
Theatre & Performance
iQuote » “In the theatre the audience want to be surprised - but by things that they expect.” – Tristan Bernard
British Pantomime
Performance
By Millie Taylor
10 | Thinking in Colour
Pantomime ���������
12 | Thinking in Colour
International Dialogues
iQuote » “I merely took the energy it takes to pout and wrote some blues.” – Duke Ellington
IQ Spring 2008 | 13
Media & Culture
iQuote » “A culture is made - or destroyed - by its articulate voices.” – Ayn Rand
launched Journal of War and Culture in fact French, and therefore liter-
ary, linguistic and cultural studies
Debra: It’s interesting that Martin
dates his interest in war and culture
Studies share their thoughts on their rather than history, is key to under- to the experiences of his family.
standing its uniqueness. I’d say the same, I was transfixed
interest in the effects of war, and Are you in ‘French’ or ‘War’ by my mother’s stories of growing
working together as a team. Studies, then? up in the Second World War she
Martin: I have a foot in each camp, was a teenager living in the heav-
if you’ll excuse the military pun. I ily bombed industrial heartland
think that my interest in war and of Britain. My father was in the
culture studies dates back further merchant navy, accompanying the
than my interest in French culture American fleet – but he also is still
though. When I was a child, I’d reticent when talking about his
pester my grandfather, who served experiences. The other formative
with the RAF from its early years to influence was the groundbreaking
the 1950s, for war stories. I could 1970s television series The World at
never get him to tell me anything War, which I watched avidly with
about the war, he’d always skirt my mother when I was a teenager.
around it. When he died, he left I’m just delighted that Jerry Kuehl,
Above Professor Debra Kelly and Helena Scott, editorial coordinator
me his photograph albums from the Associate Producer of that
‘The Journal is providing another academic forum in which these encounters can take place.’ the 1930s and 1940s. These images series, is a member of GWACS ¥
14 | Thinking in Colour
hello
there
*
swotter,
brain,
egghead,
nerd,
geek... At Intellect we appreciate the
fact that ideas are hard to come
by. A good idea doesn’t grow
on trees, but rather needs to be
nurtured over time with lots of
consideration. Intellect only take
on the best ideas for our books
*nb. We consider these to be terms of endearment. and journals. Why not try us out?
Media & Culture
iQuote » “Don’t hate the media, become the media.” – Jello Biafra
and has an article in the first issue that point. The high point for me
of the journal. I could never have was when Douglas Johnson, the
imagined back then that I’d grow renowned historian who died in
up to meet and work with people 2005, asked me a question follow-
who actually created such iconic ing my paper. It showed that not
cultural moments. only had he listened carefully to my
Picking up on Martin’s last paper, but that he was genuinely
point – so, the research environ- interested in what I had to say.
ment of the GWACS and now Debra: Yes, Douglas was a huge
the Journal is a supportive one? supporter of our work in the early
Nikki: I was two years into my years – and was suitably indignant
Ph.D. but had also recently taken when the French Embassy rang
up my first full-time post as Lec- him to enquire who these women
turer in European Studies at Sussex were (the core group was all-fe-
University when a rather perplex- male at that time, highly unusual
ing message was passed on to me: in itself in the field of war studies)
would I call Valerie Holman (now who were bringing up all sorts of
a member of our Editorial Board), stuff about France and war. He ‘One of the maddest nal at a big conference on Memory
about the Franco-Indochinese war? soon enlightened them as to our and Conflict held at Swansea Uni-
Upshot: would I give a paper at the credentials and aims! Our interests moments was versity in September, before a
first GWACS conference on France are much wider now of course. when Martin and I London launch later last year. By
at war in the twentieth century? Far The very nature of war means that that point we weren’t about to be
be it from a rookie to turn down scholars cannot remain entrenched huddled over poorly distracted from our task by the fact
such an offer, so I blithely agreed, (sorry!) within nationally defined printed Google maps that we’d managed to direct our-
knowing full well that my (still approaches; at some point we selves into a labyrinthine industrial
unfinished!) Ph.D. stopped firmly come up against the ‘other side’. with mobile phones estate just off the M4 rather than
in 1939, and I hadn’t even begun to The GWACS and the journal now in hand, trying to our Chief Editor’s genteel pad on
delve into the murky 1945-54 years. extend primarily across Europe, but the Surrey border. I was moving
I needn’t have panicked however also to other geographical areas locate Debra’s far- house and job just as we were go-
as the conference provided an involved in conflicts from the twen- flung abode for a ing to press, and I remember Ravi
extremely supportive environment tieth century onwards. Listening (our Journal manager) calling me
in which to venture into new areas to Nikki and Martin, I’d add that
final chew over our to say he finally had the first issue
of research. That first foray into I’m also incredibly proud that one assembled articles.’ in his hands. It had been touch
war and culture studies meant that of the most important aspects of and go whether the printers would
I met a great number of people our work has been, and continues we work in three different univer- manage to do the job in time, plus
who’ve proved immensely inspi- to be, that very fostering of new sities and three different cities. they had also had to deal with
rational, encouraging and helpful research in war and culture studies, One of the maddest moments was the fact that they were printing
to my subsequent endeavours. I’ve and of cultivating and encourag- when Martin and I huddled over the first ever Intellect publication
loved working with GWACS and ing young researchers – we have a poorly printed Google maps with on FSC paper 1 which is for them
now the journal, and they’ve both reputation for being a good place mobile phones in hand, trying to (and us) a landmark event. We’re
greatly enriched the focus and for doctoral students to try out locate Debra’s far-flung abode for hoping that the Journal of War and
range of my work. their work. The journal is providing a final chew over our assembled Culture Studies can continue to build
Martin: I also gave my first confer- another academic forum in which articles. We’d pulled out all the on its very innovative start. {
ence paper at a GWACS annual these encounters can take place. stops and called in all our favours
conference - this was the second Can you tell us about working (thanks Editorial Board!) to get the 1
FSC = Forest Stewardship Council.
one on memory and the experience on the first issue. first issue together in record time. For further explanation see Luke Roberts’
of war. There I met people whose Nikki: Getting the first issue to- This was in response to Intellect’s article ‘The Future’s Bright and Most
work I’d only been reading up until gether was a huge challenge, since proposal that we present the jour- Definitely Green’ on page 30.
16 | Thinking in Colour
intellect
publishers of original thinking
New
Books
Declarations of
Independence:
New
Journals
Film
American Cinema
and the Partiality
of Independent
Studies
The Soundtrack
Production Editors: Stephen Deutsch,
By John Berra Larry Sider and Dominic Power
£19.95 / ISBN 9781841501857 ISSN: 1751-4193
2008
224pp / March 2008 2008 / 3 issues per year
readmore
learnmore!
Intellect The Mill, Parnall Road, Fishponds, Bristol BS16 3JG, UK
www.intellectbooks.com/ orders@intellectbooks.com
Theatre & Performance
iQuote » “Let a single complete action, in one place and one day, keep the theatre packed to the last.” – N. Boileau
The Fire
& The Fury
Lovefuries, a second volume of plays by David Ian Rabey, has
been recently published by Intellect part of the Playtext series,
(published March 2008). This follows the acclaimed first
volume, The Wye Plays (‘fierce, muscular texts in the spirit of
Artaud and John Clare.’ – Iain Sinclair), published in 2004.
Here, the playwright provides invaluable insight into his text.
18 | Thinking in Colour
Theatre & Performance
iQuote » “Creativity requires the courage to let go of certainties.” – Erich Fromm
FURTHER READING
Lovefuries
plays by David Ian Rabey
part of the Playtext Series
£14.95, $25
ISBN 9781841501840
Lovefuries offers a double bill of performance
pieces which explode national and personal
pressures to keep silent, and explore the surprising and shocking resur-
gences of life that break through grief. In The Contracting Sea, the fiancée
of a just-shipwrecked sailor is challenged by a feminine elemental force
of catastrophe, to throw off the shackles of her common humanity. The
second play, The Hanging Judge, explores from the inside an occurrence
of sexual abuse in a contemporary Welsh context, and how one survivor
finds the courage to discover defiance. This second volume of dramatist-
director Rabey’s plays for his own Lurking Truth/Gwir sy’n Llechu theatre
company also includes the short two-hander Bite or Suck, completing a
collection of innovative drama which pursues a restless exploration of
the contradictory impulses in human sexualities through poetic, explicit,
theatrical explorations of what is possible at the extreme boundaries of
human language and physicality.
Above Roger Owen as Fury in The Hanging Judge
IQ Spring 2008 | 19
Media & Culture
iQuote » “The Law of Raspberry Jam: the wider any culture is spread, the thinner it gets.” – Alvin Toffler
October 2007 saw the first ground. They jumped at the op- Below timetable for completing switchover throughout the UK (Vismedia)
switch-off of conventional analogue portunity digital terrestrial technol-
television in the UK - in the small ogy gave them to enter the field of
town of Whitehaven in Cumbria. multi-channel TV. The government
This marked the start of a region- welcomed the possibility of reclaim-
by-region process which will extend ing spectrum through switchover.
until the end of 2012. At that point However, a hasty launch, with im-
the UK will have converted fully to mature technology, was one of the
digital television, based on terres- factors behind ITV Digital’s collapse
trial, satellite, cable and broadband in 2002 and analogue switch-off
transmission - the culmination of a only became feasible in the UK after
long transition process that began the subsequent success of Freeview.
with the launch of digital television The relatively late date for com-
back in 1998. pletion is the result of four factors:
The UK was the first country to 1/ In several other countries the
start national digital terrestrial tele- role of cable and satellite is much
vision and, at 84 per cent of homes greater than in the UK, leaving
now, it has the highest digital take- analogue terrestrial as a relatively
up in the world. unimportant means of reception
However, the Netherlands – which, of course, makes the
switched off its analogue terres- political challenge of switching it
trial TV at the end of 2006. Finland off much less daunting.
and Sweden followed in 2007. The
2/ Because switchover was such
United States has committed to
a distant prospect when digital
2009. Germany and Switzerland are
terrestrial was first planned, a new
expected to complete their regional-
frequency plan had to be devel-
ly phased switch-offs by 2010. Japan
oped for switchover - so the opera-
is targeting 2011. France, among
tional practicalities are complex.
others, aims to have completed by
then too. 3/ Having cautiously positioned ‘a hasty launch, with immature
So why does the UK have such a
protracted timetable to the switch-
itself as facilitating, rather than
leading, a broadcasting technology
technology, was one of the factors
off, spanning fifteen years, when change, the government consulted behind ITV Digital’s collapse in
the terrestrial broadcasters on the
others can start later and finish
earlier? timetable: since the commercial 2002 and analogue switch-off only
The early start was a conse- broadcasters stood to lose market became feasible in the UK after the
quence of the failure of the BBC share, they were in no hurry.
and ITV to establish themselves 4/ UK policy is based on replicating
subsequent success of Freeview.’
on analogue satellite, when in analogue terrestrial’s 98.5 per cent
the 1980s BSkyB left them on the coverage with digital terrestrial,
20 | Thinking in Colour
Media & Culture
iQuote » “Culture is to know the best that has been said and thought in the world” – Matthew Arnold
FURTHER READING
Switching to Digital
Television: UK Public
Policy and the Market
By Michael Starks
£19.95, $40
ISBN 978-1-84150-172-7
Published September 2007
John Scheinfeld
An interview with the Director of The U.S. vs.
John Lennon By Parviz Jahed
The US vs. John Lennon is a powerful and thoughtful documentary film about
the political views of John Lennon, his peace campaign against the Vietnam
War and American military and the subsequent treatment he endured by
the FBI and the American government during the 1960s and 70s. Screened
at last year’s ‘London Film Festival’, film makers John Scheinfeld and Da-
vid Leaf portray a new image of John Lennon by putting together some
never before seen archival material alongside provocative and insightful
interviews with those who knew Lennon well, such as the Black Panthers
leader Bobby Seale and radical figures like Abbie Hoffman and Jerry Rubin.
I met John Scheinfeld over breakfast at the Sofitel St James Hotel in central
London during the London Film Festival. In this interview he talks about
the movie, American policy and political documentaries.
Parviz Jahed: Is this your first essence he’s the narrator, because
documentary film? who better than him telling us his
John Scheinfeld: I have done docs story? The challenge of this kind
for about thirteen years, many of film is how to piece together
of them for television, but this is a coherent narrative without
our first feature film documentary anybody tying things together. It
that’s been distributed nationally was very difficult, but we made
and internationally, so we’re very it work, because we have such
excited about that. We feel that extraordinary voices in this docu-
the issues dealt with in this film mentary: smart people, thought-
are issues that many different ful people, eloquent people who
countries face: freedom of speech, said the things we wanted to say,
22 | Thinking in Colour
Film Studies
iQuote » “A film is a petrified fountain of thought.” – Jean Cocteau
IQ Spring 2008 | 23
024 film»feature
Q&A: John Scheinfeld
exclusive interview living alone
iQuote » “All media exist to invest our lives with artificial perceptions and arbitrary values.” – M. McLuhan
may be doomed to repeat that part like George Bush’s politics, and I
of history.’ don’t either! And I didn’t vote for
him. But one on one I think they
P.J: Do you think there might like Americans. When I travel to
be any censorship issues other countries, I find people re-
regarding the showing of your spect me and deal with me in a very
film in the States? nice way and they don’t feel ‘oh, it’s
J.S: No, we’ve not experienced an American’. But I think it’s the
anything. We’ve had no trouble politics and the Bush administra-
making the movie, no trouble ever tion that have alienated people.
showing it.
P.J: There seems to have been a
P.J: What is your opinion about huge increase in the making of
the anti-American wave that political documentaries since
spread out around the world? the release of Michael Moore’s
24 | Thinking in Colour
Q&A: Birgit Beumers
iQuote » “A wide screen just makes a bad film twice as bad.” – Samuel Goldwyn
IQ Spring 2008 | 25
Art & Design
iQuote » “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” – Scott Adams
26 | Thinking in Colour
book
worm
– noun 1.a person devoted to reading or studying.
28 | Thinking in Colour
Book Reviews
iQuote » “ Better to write for yourself and have no public, than to write for the public and have no self.” – Cyril Connolly
Below Desk with Lamp by Stephen Duncalf Bottom Rust by John Laven
ART & DESIGN An important section of this great work at a young age, what
Why We Make Art book is a collection of personal about Egon Schiele who produced
testimonies on art-making. The remarkable and original work
and Why it is Taught interviewees range from children, before the age of 20 and was dead
By Richard Hickman teachers and amateur artists to before the age of 29? Here a little
professional artists. There is a art historical context and a pinch
ISBN 9781841501260 case for publication of a larger of salt might have gone a long way.
Paperback 176 pages collection of such responses with Another blind spot seems to
Published August 2005 brief analyses from the author be higher education. Apart from
Review by Alexander which might serve as a sourcebook a brief discussion, art colleges are
Adams, artist and critic for those involved in art education. not touched on in a significant
with CAP gallery, London The otherwise perspicacious way, though the author’s long
In this book, Richard and balanced when they are ‘There is plenty of sympathy here for teachers caught
Hickman, Lecturer in education at nothing of the sort, as as much an between imperatives of measuring almost intangible
the University of Cambridge, takes impediment to creativity as a spur.
issue with post-structuralists, There is plenty of sympathy qualities to pseudo-objective standards and the
who posit the death of the self here for teachers caught between desire to foster joyful creativity in children.’
and claim all values to be relative, imperatives of measuring almost
by asserting the importance of intangible qualities to pseudo-
child-centred learning with an objective standards and the
emphasis on self-expression. desire to foster joyful creativity in
He tackles discipline-based (as children. Hickman points out the
opposed to individual-based) deleterious effect of not teaching
learning approaches which basic skills. Learners – of all
demand all artistic production be ages – become understandably
contextualized. ‘It is, of course, frustrated by not being able to
important for young people to depict what they see around them.
know about and understand the To bombard students with context
incredibly diverse nature of visual and interpretative approaches Hickman swallows whole the experience of observing younger
culture,’ writes Hickman, ‘but whilst at the same time depriving statement: ‘It takes about a decade learners (and their teachers)
not at the expense of depriving them of a useful tool for self- for people to master a domain shines through in his considered
them of opportunities for creative expression is the worst of both and up to an additional decade and humane approach to this
self-expression.’ He identifies worlds. Furthermore, Hickman for them to fashion work that important subject. This study
encounters with taught art history, asks why ‘assessment of items that is creative enough to alter that is a valuable counter balance to
those which come too early and look like art objects’ should be domain’. While it is true that target-centred art and education
which appear to be comprehensive seen as evidence of learning. child prodigies don’t produce administrators. {
IQ Spring 2008 | 29
Backpage
iQuote » “There is more pleasure to building castles in the air than on the ground.” – Edward Gibbon
intellect comment
in forthcoming years.
These commitments are just Testimonials...
the first few steps. The next stage
‘As an editor, what I like best
is to write an Environmental Policy about Intellect is the combination
document. We aim to finalize this of genuine concern, constructive
document in September 2008 advice, and unequivocal respect for
and put it into practice thereafter. the editors’ ultimate choices. The
Our commitment today, and people at Intellect are pros at what
for future years, is to continue a they do, which allows us as editors
to focus on our job – finding the
gradual migration towards more
best texts.’
sustainable, environmentally – Daniel Lindvall,
friendly practices. In this process Editor of Film International
we shall solidify our aims and
achievements into a coherent ‘I am very pleased to find out that
environmental policy. there is a publisher of ‘original
thinking’. It gives the feeling that
your published books are unique
RECYCLING:
and meaningful. This is not a
Intellect currently recycles most of standard usually found in other
its office paper. publishers.’
– Harold Savage
30 | Thinking in Colour
intellect
publishers of original thinking
2008
research articles, practical to the educational aspects
discussions, timely reviews, of music technology and the
readers’ notes and special technological aspects of music.
issues concerning all aspects JMTE draws its contributions
of community music. Our from a broad community
editorial board is composed of of educators, researchers
New titles from Intellect leading international scholars and practitioners who are
and practitioners spanning working closely with new
diverse disciplines that reflect technologies in the fields of
the scope of community music education and music
music practice and theory. technology education. We
Accordingly, the editorial regard such education in
board of the IJCM holds an its widest sense, with no
open concept of community bias towards any particular
music providing a responsive genre. Readership is wide
scope that is able to reflect and varied, including those
the breadth of current who wish to stay updated with
international practice. the most recent issues and
developments surrounding
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the interrelationship between
music technologies and
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teaching and learning.