Known as College of Business, Arts and Social Sciences until 2024/25 http://bura.brunel.ac.uk/handle/2438/32831 2026-06-21T22:59:20Z 2026-06-21T22:59:20Z Paramana, K http://bura.brunel.ac.uk/handle/2438/33484 2026-06-21T20:15:32Z 2026-05-01T00:00:00Z

Title: Political Economy and the Arts: Introduction – Space-Making and Practices of Resistance Authors: Paramana, K Abstract: Here, Katerina Paramana introduces the articles in the “Political Economy and the Arts” special section of this issue. In the current climate of geopolitical upheaval (from Ukraine, to Gaza, Iran, Venezuela, and Greenland), the articles illuminate what arts do to produce resistance at a micro level by re-writing problematic narratives, visibilizing marginalized communities, imagining alternative models and futures, and working towards equitable space-making.

2026-05-01T00:00:00Z Paramana, K http://bura.brunel.ac.uk/handle/2438/33483 2026-06-21T18:38:24Z 2026-06-17T00:00:00Z

Title: On Affective Objects: Martyro, Veronique Doisneau, and the Production of (im)Material Objects Authors: Paramana, K Abstract: Differing perspectives on the ephemerality of performance have led to debates since the 1980s regarding its ontology. Sondra Fraleigh and Peggy Phelan, for example, believe that performance’s ‘only life is in the present’. Others have disagreed. For example, Rebecca Schneider believes that performance remains in the body of the spectator in a complicated manner and Miranda Joseph, drawing on Marxist theory, argues that performance is in fact material because it produces social relations which have material effects: they affect our thinking and behaviour. In alignment with Joseph, this text begins with the presupposition that performance, and, specific to this text, the object we might call dance performance—the dance performance event and its particular contours, in other words, the performance event as an entity which emerges in the space-time where/when the onlooker and the work meet—is material because it is social. I discuss two dance performance objects, my work Martyro (2011) and Jérôme Bel’s (2005) Veronique Doisneau, as (im)material affective objects. I examine each work individually, providing first a thick description of each in order to communicate how they used affect to connect to their spectators and to critique the contexts of their presentation, the worlds in which the Subject in each of these performances worked. Drawing on understandings and theories of affect (from Deleuze and Guattari, Gilbert Simondon, and Brian Massumi to Lauren Berlant) and political economy (including David Harvey, Cedric Robinson, Jeremy Gilbert, Ashok Kumar, and Katerina Paramana), I then argue that both works used affect to remind their audiences, their witnesses, of the power of revealing one own’s experience of ‘suffering’ as Subjects, whilst simultaneously critiquing the wider economies in which these works, these affective objects and their Subjects, are embedded. It is this production of affect, I suggest, that potentiated action for change, by affecting others’ perspectives and behaviours. Description: Data Availability Statement: Data sharing is not applicable. No new data were created or analyzed in this study.

2026-06-17T00:00:00Z Pickering, SD Hansen, ME Dorussen, H Reifler, J Scotto, T Sunahara, Y Yen, D http://bura.brunel.ac.uk/handle/2438/33479 2026-06-21T08:44:56Z 2026-01-01T00:00:00Z

Title: Whose Side Are You On? Ideology and Support for Educational Strikes in England Authors: Pickering, SD; Hansen, ME; Dorussen, H; Reifler, J; Scotto, T; Sunahara, Y; Yen, D Abstract: ... Description: ...

2026-01-01T00:00:00Z Miltner, K Moruzzi, C Parker, M Potapov, K Sichani, A-M Westenberger, P http://bura.brunel.ac.uk/handle/2438/33474 2026-06-20T02:00:33Z 2025-05-05T00:00:00Z

Title: BRAID Researchers’ Response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki Authors: Miltner, K; Moruzzi, C; Parker, M; Potapov, K; Sichani, A-M; Westenberger, P Abstract: This response to the call for contributions on artificial intelligence and creativity issued by the UN Special Rapporteur in the field of cultural rights, Alexandra Xanthaki, was prepared by researchers in the Bridging Responsible AI Divides (BRAID) Programme. Description: BRAID is a UK-wide programme dedicated to integrating Arts and Humanities research more fully into the Responsible AI ecosystem, as well as bridging the divides between academic, industry, policy and regulatory work on responsible AI (https://braiduk.org/). We are an interdisciplinary group of researchers in the Bridging Responsible AI Divides (BRAID) Programme. Views are our own and do not reflect those of our institutions, organisations or individuals partnered with us in our projects, the BRAID programme as a whole, or other BRAID researchers.

2025-05-05T00:00:00Z