Through the lens of the everyday, this book explores ’the countryside’ as an inhabited and practised realm with lived rhythms and routines. It relocates the topography of everyday life from its habitually urban focus, out into the English countryside. The rural is often portrayed as existing outside of modernity, or as its passive victim. Here, the rural is recast as an active and complex site of modernity, a shift which contributes alternative ways of thinking the rural and a new perspective on the everyday. In each chapter, pieces of visual culture - including scrapbooks, art works, adverts, photographs and films - are presented as tools of analysis which articulate how aspects of the everyday might operate differently in non-metropolitan places. The book features new readings of the work of significant artists and photographers, such as Jeremy Deller and Alan Kane, Stephen Willats, Anna Fox, Andrew Cross, Tony Ray Jones and Homer Sykes, seen through this rural lens, together with analysis of visually fascinating archival materials including early Shell Guides and rarely seen scrapbooks made by the Women’s Institute. Combining everyday life, rural modernity and visual cultures, this book is able to uncover new and different stories about the English countryside and contribute significantly to current thinking on everyday life, rural geographies and visual cultures.

In much of the existing literature on everyday life the spaces, rhythms and routines of the modern city are overwhelmingly privileged as sites of the everyday. This research relocates the topography of the everyday from its habitually urban focus, out into the English countryside by presenting an account of certain aspects of everyday life from a non-metropolitan perspective. The rural is often portrayed as existing outside of modernity, or as its passive victim. This thesis recasts the rural as an active and complex site of modernity and as such contributes to alternative ways of thinking the rural and a new perspective on the everyday. A central concern is to complicate established distinctions between the city and the country through developing the notion of the non-metropolitan. Also important, is discussion of how the ongoing tension between ancient and modern, and preservation and development, is articulated in non-metropolitan everyday practices. This study theoretically repopulates the rural, thinking it not only as a space to be looked at, moved through or visited, but as a space which is lived in. The first chapters examine everyday practices more often associated with the urban such as driving and littering, and rethinks them through a rural perspective. The later chapters focus on practices that are more traditionally embedded in the non-metropolitan: membership of the Women's Institute and calendar customs such as village fetes, examining how these activities might be re-situated in discourses of modernity. The work is primarily informed by visual cultures including scrapbooks, photographs and films, that articulate how these aspects of the everyday might operate differently in non-metropolitan places. In addition, textual and original archival work contributes significantly to this study.

Bringing together a diverse group of scholars representing the fields of cultural and literary studies, cultural politics and history, creative writing and photography, this collection examines the different ways in which human beings respond to, debate and interact with landscape. How do we feel, sense, know, cherish, memorise, imagine, dream, desire or even fear landscape? What are the specific qualities of experience that we can locate in the spaces in and through which we live? While the essays most often begin with the broadly literary - the memoir, the travelogue, the novel, poetry - the contributors approach the topic in diverse and innovative ways. The collection is divided into five sections: ’Peripheral Cultures’, dealing with dislocation and imagined landscapes'; ’Memory and Mobility’, concerning the road as the scene of trauma and movement; ’Suburbs and Estates’, contrasting American and English spaces; ’Literature and Place’, foregrounding the fluidity of the fictional and the real and the human and nonhuman; and finally, ’Sensescapes’, tracing the sensory response to landscape. Taken together, the essays interrogate important issues about how we live now and might live in the future.

A Companion to Modern Art presents a series of original essays by international and interdisciplinary authors who offer a comprehensive overview of the origins and evolution of artistic works, movements, approaches, influences, and legacies of Modern Art. Presents a contemporary debate and dialogue rather than a seamless consensus on Modern Art Aims for reader accessibility by highlighting a plurality of approaches and voices in the field Presents Modern Art’s foundational philosophic ideas and practices, as well as the complexities of key artists such as Cezanne and Picasso, and those who straddled the modern and contemporary Looks at the historical reception of Modern Art, in addition to the latest insights of art historians, curators, and critics to artists, educators, and more

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

The handbook presents a compendium of the diverse and growing approaches to place from leading authors as well as less widely known scholars, providing a comprehensive yet cutting-edge overview of theories, concepts and creative engagements with place that resonate with contemporary concerns and debates. The volume moves away from purely western-based conceptions and discussions about place to include perspectives from across the world. It includes an introductory chapter, which outlines key definitions, draws out influential historical and contemporary approaches to the theorisation of place and sketches out the structure of the book, explaining the logic of the seven clearly themed sections. Each section begins with a short introductory essay that provides identifying key ideas and contextualises the essays that follow. The original and distinctive contributions from both new and leading authorities from across the discipline provide a wide, rich and comprehensive collection that chimes with current critical thinking in geography. The book captures the dynamism and multiplicity of current geographical thinking about place by including both state-of-the-art, in-depth, critical overviews of theoretical approaches to place and new explorations and cases that chart a framework for future research. It charts the multiple ways in which place might be conceived, situated and practised. This unique, comprehensive and rich collection will be an essential resource for undergraduate and graduate teaching, for experienced academics across a wide range of disciplines and for policymakers and place-marketers. It will provide an invaluable and up-to-date guide to current thinking across the range of disciplines, such as Geography, Sociology and Politics, and interdisciplinary fields such as Urban Studies, Environmental Studies and Planning.

Let’s spend the night together explores how sex and sexuality provided essential elements of British youth culture in the 1950s through to the 1980s. It shows how the underlying sexual charge of rock ‘n’roll – and pop music more generally – was integral to the broader challenge embodied in the youth cultures that developed after World War Two. As teenage hormones rushed to move to the music and take advantage of the spaces opening up through consumption, education and employment, so the boundaries of British morality and cultural propriety were tested and often transgressed. Be it the assertive masculinity of the teds or the lustful longings of the teeny-bopper, the gender-bending of glam or the subterranean allure of an underground club/disco, the free love of the 1960s or the punk provocations in the 1970s, sex was forever to the fore and, more often than not, underpinned the moral panics that fitfully followed any cultural shift in youthful style and behaviour. Drawing from scholarship across a range of disciplines, the Subcultures Network explore how sex and sexuality were experienced, presented, conferred, responded to and understood within the context of youth culture, popular music and social change in the period between World War Two and the advent of AIDS. The essays locate sex, music and youth culture in the context of post-war Britain: with a widening and ever-more prevalent media; amidst the loosening bonds of censorship; in a society shaped by changing patterns of consumption and the emergence of the ‘teenager’; existing, as Jeff Nuttall famously argued, under the shadow of the (nuclear) bomb.