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(2006)Book ChapterLove has so honeycombed today’s ethical discourse that it’s as though we have been taken hostage by an Other whose escalating demands on our affection now carry the full force and weight of the original super-egoic injunction from which Freud so famously recoiled.1 Yet the proper answer to this loving impasse is not, as Slavoj Žižek has recently suggested, to respond with a fully “ethical” violence that shatters the loving circle but, rather, more love.
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(2010)Book ChapterFor Badiou, love must be regarded in terms of an exceptional logic that simultaneously confirms the philosophical counting operation, while generating another number that is not a product of ordination
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(2007)Book ChapterThis chapter explores how some of these women experience engineering in higher education (HE) in the UK. The first part examines the issue of women in engineering and engineering education, highlighting the importance of increasing the number of professional women engineers. The second part investigates the cultures that persist in engineering and higher education generally which act as barriers to women's progression, before addressing specific cultural factors in engineering education that may hinder women's advancement to the engineering professions. The final part of the chapter sets out the findings of an Economic and Social Research Council project into these issues. It begins by describing the methodology used and proceeds to analyse women's experiences of UK engineering education in terms of the good, the bad and the ugly. These terms are explained using examples from the research findings later in the chapter.
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(2008)Book ChapterThe growing emphasis on performance in recent musicological research has fostered various arguments to be put forth regarding the relationship between performance and the musical score. Similarly, discussions of sound recordings often debate the relationship between live performance and studio recordings. This paper revisits these issues drawing on a specially conducted survey, published comments and views of artists and researchers, analysis of multiple recordings (both live and in the studio) of the same work by the same artist, and listeners’ perception of these interpretations. In doing so it searches the question whether sound recordings are appropriate documents for the historical study of musical performance and interpretative styles.
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(2005)Book ChapterStarting with an overview of the early reception, performance and editorial history of Bach’s Sei Solo a Violino senza basso accompagnato (BWV 1001-1006), it discusses sound recordings made during the 20th century. Examining aspects of interpretation such as ornamentation, rhythmic projection and articulation, it compares over forty different versions spanning from Joachim’s 1903 recording to releases in 2002. It notes various trends in overall conception (i.e. approaches to slow, fugal and dance movements), use of vibrato, choice of expressive means and an increasing individuality among interpretations from the last 10 years. Discussion of recordings from the last quarter of the 20th century illustrates the differences between ‘modern’ and ‘historically informed’ performance and shows how contemporary violinists using modern instruments may emulate the period style through bowing, articulation and the projection of metre and pulse. Software assisted analyses inform the comparison of vibrato and bowing. A systematic reporting of tempo choices questions the claim that performances have become faster with the passing of time.