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Other things of interest

Bureaucracy

Bureaucracy has got a bad name. It is seen as a relatively recent disease in society, yet it has had a long history. Based on rationality and fixed procedures, it can be seen as having stemmed from very positive attempts to deal with variability, unpredictability and patronage – injecting transparency and fairness into social processes.

Bureaucracy has changed as society has changed. With the advent of mechanised mass production and the search for ever more efficiency, it became variously associated with totalitarian regimes, rule-based systems and a lack of humanity. As society continues to change new forms of bureaucracy are emerging. These can be viewed positively as adaptations to flexibility and creativity, or can be viewed more critically as the permeating of all social interaction by procedures and attitudes that are relatively meaningless yet which operate as a means of control.

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Thinking about poverty and inequality

Children in Distress: Responding to known and unknown needs.

There is a, quite correct, intense focus on the needs of children variously categorised as being at risk, in need of care, or in distress because of neglect or abuse. The numbers of such children varies and has recently been rising. What are the factors within families that are most likely to lead to children being abused or neglected? What is the threshold for statutory intervention? What is the current and likely future scale of the issue? Are there new kinds of abuse emerging, or unrecognised forms that are not yet on the radar of those watching out for such things? How prepared are we, as a society, to respond rapidly to any new sources of distress to vulnerable children?

It is clear that the neglect and abuse of children is far from a new phenomenon. My own first academic contact with the issue was Alec Clegg and Barbara Megson’s book ‘Children in Distress’ in 1968 and the UK White Paper ‘Children in Trouble’ which led up to the 1969 Children and Young Person’s Act.

Children’s everyday experience of distressful lives did not start with their public accounting in such documents. This is an old and extensive problem that continues to take new forms and occur over fluctuating scales – always demanding new attentions and expecting new responses.

Currently the focus is on the expectation that something should be done, immediately and robustly, whenever abuse or neglect is suspected; that preventative mechanisms should be in place for early detection of such risks in order to head things off before they become more serious; that being alert to such situations is the responsibility of everyone and not to be left to particular individuals; and that new forms of neglect and abuse are constantly emerging so that vigilance and foresight are required more than ever.

The threshold between the rigours of childrearing and the spill-over into abuse or neglect is not crisp. The extremes are obvious. Just as healthy contexts for childrearing will ‘make’ children – so there are a number of risky contexts that, if not addressed, can ‘break’ children. Around the boundary between these two are family contexts which may, or may not, turn into something risky – but things cannot always be assumed to be problematic. Family behaviours may simply be transient, may sort themselves out, especially if early help is on offer.

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Other things of interest Thinking about art and contemporary

Some exploratory thoughts on Progress

The idea of progress is a complex concept. Normally it is taken to mean that the human condition is improving over time and will continue to improve into the foreseeable future.

This conceptualisation of progress include a sense of advancement, forward movement, and gaining a higher understanding or ability. It is an upward linear progression, a continuation, a development. Progress is Onwards and Upwards.

It also has the more subtle sense of simple passage of time; a going from place to place, a procession or journey, things being underway – as work being in progress: an unfinished thing that may or may not work out well.

The Enlightenment struggles with the idea of Progress were attempts to rationalise ways forward. Do we have similar impulses and methodologies that allow us to sense ways forward, to make contemporary progress, in a world that seems more fragmented, with uncertain sets of relationships? How will we agree what constitutes progress in a context that is complex, ambiguous, and kaleidoscopic?

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Other things of interest Thinking about art and contemporary

Thinking about ‘Contemporary’ : a hesitant exploration

As with so many useful terms, there is no simple single understanding of ‘contemporary’. It is still being explored and in some ways may never be fully settled on. At the same time, there are some clear lines of sight that help people see a way through.

Contemporary, by its roots, is about time and belonging together. That apparent clarity is immediately one source of difficulty. Its common-sense understanding has contemporary relating to particular things coexisting within this current time period (Contemporary = of the present) but (a) there is a different sense in which anything in the past was contemporary with other things in that same past period. (Everything is contemporary in its own time – so there is nothing especially contemporary about today); and (b) not everything that exists together in the here and now might be judged to be contemporary in its values.

Maybe one answer is to declare that the currently contemporary relates to the now of today and simply ‘is’, as something that cannot be generalised beyond its very fragmented existence. This sees the contemporary as being a highly diverse set of outlooks (more so than things have been in the past with diversity in cultural production, exchange, consumption, materials, meanings. and with little expectation of being able to neatly draw boundaries to contain it. That, in turn, leads back to contemporary being able to encompass everything and anything, so long as it is thought of as contemporary.

This contemporary-as-diversity arises from an understanding that we currently live in a very different kind of world, and that any socially-constructed activity will reflect things that are shaped by a unique set of stronger, broader, different forces. This brings some paradoxes and puzzles: The world (physically and socially) is more connected than ever before but, at the same time, feels more fragmented. There are widespread, almost universal, influences but these play out differently everywhere: Think global; Think local.

This was also true, in its own way, of past eras of expanding trade and industrialisation. There is something particularly new and different in the nature of those same influences, making the contemporary what it is today. What is so specific about the shaping forces of now? What is it within anything contemporary that clearly marks it out as such: as being characteristic of twenty-first century existence rather than of any previous age?

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A variety of writings Thinking about cities

Writing in a Flash: Changing the ending

One of the core skills of a writer is to be able to write to length. Sometimes this involves stretching the word-count to get to something credible without losing the plot. Often it means chopping back and back to remove all superfluous text and cut a rambling piece down to size. Sometimes it means complying with the word-maximum criteria of an editor, a writing competition or some other challenge.

Book-buyers may exercise their own, individual, rough and ready, on-the-spot judgement about value-for-money: The weighing of the number of pages of a novel against its cover-price; pound weight for pound cost.

How long is long enough? Does it really matter? It all depends.

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Thinking about poverty and inequality

Child Poverty: What can a large complex city do to reduce levels?

In response to national legislation Birmingham (UK) set out the range of planned actions that were most likely to have an impact on levels of child poverty across the city, and that were already contained within City Council plans and within the plans set out by partner agencies. These included actions with immediate impact on child poverty; actions that will impact on child poverty in the near future; and actions that will impact on child poverty in the longer term.

Across the four-year period 2007-2011Birmingham reduced its level of child poverty at four times the national rate. Not only has Birmingham has been making better than national average progress in reducing the level of child poverty (closing the gap to national figures), most progress was being made in the wards with highest levels of child poverty (closing the gaps between high-poverty wards and the city average).

Child poverty remains a significant issue for Birmingham, not least because of the size of the child population. Of the major cities, Birmingham had the fifth largest proportion of children living in poverty but, because of its population size, Birmingham continues to have by far the largest volume of child poverty to deal with of any local authority in England.

The next 3-5 year period presents new challenges to combatting levels of child poverty in the city, not least because of the impact of several recent national budgetary and local economic decisions. With all this is mind, in moving forward 2014-2017, there is a continuing need to ensure that this work gets carried forward at the scale and pace needed in the city, with sufficient traction to continue to make differences, and plugged into other social inclusion processes already in place. The city’s thinking framework and the successful actions can be maintained such that – despite national austerity measures impacting heavily on poor families in the city – Birmingham can continue to take seriously its duty to counter levels of family poverty in the city.

A link to a fuller account with statistics is here: combatting child poverty in Birmingham

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Thinking about poverty and inequality

Poverty and some of its impacts: What might be done?

This article is a composite write-up based on a number of presentations and interviews undertaken in September 2014 in Whitehorse, Yukon Territory, Canada. It is intended as a broad-ranging, general interest exploration of a set of ideas, puzzles and practicalities, covering: 

  • Recent economic trends
  • How poverty gets thought about, recorded and measured; the realities in some people’s lives
  • Policy and social approaches that affect levels of poverty
  • How poverty links to the development of children and families
  • How these influence life chances
  • What things might reduce the numbers of people growing up in poverty

A full write-up of the inputs can be read here: Poverty and some of its impacts

 

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Thinking about employability and occupation Thinking about learning and skills

Employability programmes: Getting the best outcomes for learners

Employability programmes are seen as being to improve those basic generic skills that employers are looking for, and which are likely to help the person secure initial employment and maintain ongoing employment. Sometimes employability programmes supplement these generic skills with access to more vocationally-specific training and awareness. Sometimes there is heavier emphasis on the practicalities of sorting out a way forward for each participant, or dealing more substantially with underlying issues of attitudes and motivations.

There are a range of people for whom employability is seen as a key learning need. Whilst employability courses are often thought of as being for young people disengaged from regular routes to employment, this is not always the case. There are also young people who are motivated, and on track, but simply lack some simple skills or knowledge relating to the world of work. An employability group may contain a variety of people. Programmes may thus need to be flexible enough to be able to meet a range of needs.

This article outlines the features of successful employability programmes.

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A variety of writings

Doing Poetry: No Sweat

My ebook  ‘Made in Birmingham: The Poems’ is a collection of approximately seventy poems. One was called ‘Doing Poetry: No Sweat’ 

I’m going to be a poet.

It’s an odd thing at my time of life

but a choice that is becoming

more popular, I’ve noticed.

I’ve bought my first garret

and cut down on food.

I now only need access

to a pub full of artists

and a distant woman

to impossibly love

and I’ll be off

doing poetry.

No sweat.

It isn’t autobiographical, just a poem. There is no garret; I don’t eat to excess but that is a health thing not a starving poet thing; and a distant woman to impossibly love is definitely off the agenda (unless you count Agent Lisbon from ‘The Mentalist’, or the very nice female detective from ‘Law and Order Special Victims Unit, or the woman detective from ‘Castle’, or Ziva from ‘NCIS’  …. Do I detect a trend here..??).

A bit of a push

In an earlier posting I talked about planning. Each year I have a set of loosely-sketched intentions. For 2014 these include ‘Having a bit of a push on poetry’. This is a broad statement of intent, but I have several elements in mind that might add up to ‘a bit of a push’. I also have a specific image when I talk about ‘poetry’: Not poems that pour out of me, like it or not, but poetry to order, poetry on demand, poetry to a schedule.

Recent attempts at producing poetry to a theme include:

  • Poems written as part of workshops linked to art exhibitions at University of Birmingham’s Barber Institute (and the invitation to read some of the work as part of a public event)
  • Poems written in response to contemporary art works in Birmingham Museum and Art Gallery’s ‘Metropolis’ exhibition
  • Poems written in response to the Royal Academy’s ‘Sensing Spaces’ exhibition

Developing a poetic career

A few months ago I attended an excellent workshop run by the editor/director of Nine Arches Press which is a UK small press that specialises in publishing poetry. The theme of the workshop was to try to understand what might be meant by the ‘career’ of a poet. It was clear that (except for a very small number of people) this rarely meant creating a full-time high-income role from writing poetry.

The figures speak for themselves:

95% of poetry sold recently was written by dead poets. Of the small amount by living poets 90% was via one major publisher and the bulk of that was the work of a few outstanding, award-winning poets. The remainder – a very tiny proportion of the total amount of poetry published for sale – was published via a few small/medium sized publishers, each publication maybe selling only tens of copies. On that basis, if the poet earns royalties of around 10% then they need to move to a garret and cut down on food ….

To reach this point of having a collection published by a small press, selling in fairly small numbers, and bringing in very little reliable income, a poet may follow a ‘career’ – ie a ‘development trajectory’, that could include:

  • Regularly writing poems; regularly reading poems by contemporary established poets
  • Submitting to online poetry magazines (and being accepted)
  • Entering poetry competitions (and being successful)
  • Taking part in events, readings, open-mic sessions
  • Operating a poetry/writing blog of ones own
  • Having sufficient poems that have been tested by public airing, and putting these into a small pamphlet for publication

So, to have ‘A bit of a push on poetry’ in 2014 means that I will have a concerted attempt at some of these steps – moving the ‘I am a poet’ part of myself across a development arc so that I might feel some sense of progress.

The aim is to find time, space, energy, motivation, inclination, stimulation etc to write 50-70 poems over the course of 2014 and to test some of these publicly in open reading events or in online publications. With a bit of extra polishing maybe 15-20 of these might be worked up to a stage where they could be considered ‘good enough’ (by me; by others; by an editor of a small poetry press). This, at a stretch, might just lead to a pamphlet of assorted poetry. That might be as far as it gets. Beyond that we get into the realm of having sufficient ability and confidence, and a robust enough track record, to put together a small collection of poems on a theme.

Poets: Undomesticated, almost feral, things?

Many years ago a friend wrote a dissertation taking the song title ‘An engineer can never have a baby’ as its theme. The song undermined the outdated idea that women have babies, engineers are never women – so an engineer will never have a baby. Recently this retranslated in my head to ‘Can a poet have a family?’

The poet in ‘Doing Poetry: No Sweat’ was a caricature of a single person, living alone, spending nights in bars and writing poetry from within that ambience. If a poet has a home to maintain, relatives to interact with, grandchildren to play with, monthly finances to regularise – in short, if a poet is domesticated – then is there still enough time, space and ambience for poetry?

Having moved house; and then had builders knocking down walls and filling the air with dust and radio music, I looked to local coffee shops as the place to do writing. That worked if I avoided the times when the places got taken over by lunchtime schoolchildren or mid-morning mums or afternoon shoppers. Especially around the buzzing busyness of Christmas finding quiet corners in which to think and write became more and more difficult. This problem itself prompted a poem:

The table I sit at holds firm

The table I sit at holds firm

as people swirl and twirl;

twisting, turning through spaces

in which I’ve quietly settled.

My coffee cools slowly in freeze-frame hold.

Theirs get gulped, drained, in fast-forward blur;

their chitterchatter all gibblegabble.

My silence of monastic proportion

as I seek out just the right word.

Their minds whirring, churning,

as crowds carry them off:

The table I sit at holds firm.

Nevertheless, I am off to be a poet

So I am off, not to find a garret but to find a table firm enough to write at. I have scoured around for opportunities for local readings and events to go in my diary. I have booked into a couple of national things. I have regular blogs that I follow. I have put out of my mind all thoughts of female detectives with dark hair. The commitment to having a bit of a push on poetry, and the motivation to do something about it, is there – we will just have to see how it works out.

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Thinking about art and contemporary

A beginner’s simple exercise in contemporary art: Leger, entropy and me

The initial question in my head was: Can there be the idea of Progress in contemporary art? Turning this upside down (or back to front) you get: Can there be a contemporary piece of art that can have its layers slowly peeled away, as in some kind of archaeology, to reveal influences below the surface?

As part of a series of workshops on Understanding Contemporary Art I attended a workshop at the University of Birmingham’s Barber Institute. The theme was collage and the workshop covered a number of ideas: appropriation/borrowing; assembling found elements; using contemporary media for sources; what the artist brings to the work; how hard to expect the viewer to work; postmodernism, playfulness and the lack of grand narratives etc..

At the same time there was an exhibition of selected contemporary work by new (2013) graduates from West Midlands art schools – spread over three sites in Birmingham, with several pieces on display at the Barber.

On a pre-workshop visit to the Barber I simply walked round the gallery as fast as I could noting which works of art, if any, made me look twice at them. There were two: One from the New Art West Midlands exhibition (‘Entropy’ by Lindsay Booker) and one from the Barber Institute’s permanent collection (‘Composition with Fruit’ by Fernand Leger).

A very quick internet search suggested that Leger developed his early work in the context of cubism – his own style being called ‘tubism’ because of his focus on cylinders etc.. His work became increasingly abstract, with blocks of primary colours. He spent the first two years of World War 1 at the front and this influenced his art, making it into something mechanical (machine art). After the war he was part of Purist art – flatter colours, bold black outlines; and later, as part of the post-war trend to a return to order, his work became more organic. By 1938, when ‘Composition with Fruit; was painted his work was warmer, less over-mechanistic but with some remaining hint of machine parts. ‘Composition with Fruit’ followed in the tradition of Still Life but transposing it via techniques that were contemporary at the time – geometric forms, blocks of colour, incorporation of items from consumer culture, celebration of machine age tempered with organic imagery (the worms in the fruit, hinting at impermanence etc).

The ‘Entropy’ picture from the New Art West Midlands exhibition was large (240cm x 120cm), monochrome, pen and Japanese ink on paper. There were two levels to the picture: the overall image and the intricate, elaborate detail. It was intriguing and a bit disturbing; confusing to the eye. The nonlinear marks cascaded, lava-flow like. It has resonances of earthquakes, tsunamis, tectonic movements, detritus, apocalyptic reshaping of landscapes. The text from the exhibition described the picture as alluding to ‘The Great Wave off Konagawa’, 1830, by Hokusai – a painting that I had used as part of training programmes and which held some significance for me.