London, United Kingdom

Goldsmiths, University of London
London, United Kingdom

Goldsmiths, University of London is is the operational name for Goldsmiths' College, a public research university located in London, United Kingdom which specialises in the arts, humanities and social science, and a constituent college of the federal University of London. It was founded in 1891 as Goldsmiths' Technical and Recreative Institute by the Worshipful Company of Goldsmiths in New Cross, London. It was acquired by the University of London in 1904 and was renamed Goldsmiths' College. Wikipedia.

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Neyland D.,Goldsmiths, University of London
Theory, Culture & Society | Year: 2015

This short paper acts as a comment on Totaro and Ninno's ‘The Concept of Algorithm as an Interpretative Key of Modern Rationality’ and also introduces some new avenues for exploring the organization of algorithms. In recent discussion of algorithms, concerns have been expressed regarding the apparent power, agential capacity and control that algorithms command of our lives (Beer, 2009; Lash, 2007; Slavin, 2011; Spring, 2011; Stalder and Mayer, 2009). The logic of order, if there is one within these discussions, appears somewhat distinct from the metaphor of recursion suggested by Totaro and Ninno. Using this distinction as a starting point, the paper explores alternative metaphors from which to begin an engagement with political questions of algorithmic ordering. The paper argues for engaging with associative metaphors of: algorithmic account, fluidity, absent-presence and sociality. The paper explores these associative metaphors through an important set of emerging questions regarding organizing algorithms: who and what is included or excluded, on what terms and to what ends?. © 2014, SAGE Publications. All rights reserved.

News Article | May 20, 2017

This is the time of year when budding artists around the country are busy putting the finishing touches to their final degree showpieces, the fruits of their past few years of artistic labour. Starting today, Slade School of Fine Art in London and Falmouth University in Cornwall are among the art colleges running the first of about 100 graduation shows in coming months, presenting the latest “hot” art produced by students. The annual BA and MA shows are a great place to pick up a piece of original artwork that you can enjoy looking at, but which could also turn out to be a savvy financial investment. You are also supporting promising young artists for whom it is incredibly important to make their first sale as they leave college and step out into the real world. It has never been easier to buy art. Over the past two decades a host of online sites selling contemporary art have sprung up – from small, online-only galleries to big auction houses such as Sotheby’s and Christie’s. An original piece can be snapped up for as little as £45, says Jane Eccles, who works as a programme manager for a utilities company and has amassed a personal collection of 59 pieces over the past three years. “I work long hours and commute, and it’s really nice to get home and to be surrounded by beautiful works of art,” she says. “I enjoy researching artists, and it’s nice to support emerging artists.” Her taste has evolved over time, and she now buys pieces “that challenge me”. She stresses that she buys for pleasure rather than monetary gain and has not sold any of them – although some of the work has gone up significantly in value. Those by painter Peter Kettle, recently voted in as a fellow for the Royal Society of Arts, has nearly tripled in value in the past four years. The piece Brecon Beacons 1 which Eccles bought in 2015 for £450 is now worth £1,200. Another artist she has bought from is the Polish Bartosz Beda, who has been short-listed for several prizes and was selected for the 2012 Catlin Art Guide as the most promising emerging artist in the UK. His work ranges from painting to installation and animation. Paintings that sold for £500 in 2011 are now valued at around £3,500. Eccles also likes Orlanda Broom, whose smaller, lush paintings were priced at £200-£300 at her Winchester degree show in 1997 and are now worth about £7,800. Other favourites are London artist Julia Blackshaw who exclusively “portrays the female form”, and Slade postgraduate Lindsay Mapes who has done a series of paintings on transparent silk and has been selected as one of 12 artists worldwide for a US documentary called Looking for Picasso. Eccles’s advice to would-be art buyers is: “Start with a small piece that you fall in love with. Follow your instinct. If you buy from an online gallery you can always return the work.” Sarah Ryan, a former art teacher who set up New Blood Art in 2004 to represent emerging artists in the UK, advises buyers to look for “some sort of coherence, some kind of unique voice or recognisable style”. She adds that artists who produce “work that’s a bit jarring or uncomfortable to look at are those that go on to be something special”. Ryan will spend the summer on the road, scouting for new talent at degree shows from Aberdeen to Aberystwyth, and has carved out a niche selling graduate art, with prices ranging anywhere from £175 up to £10,000. Delivery fees are capped at 5% of the value of the work which can be bought through interest-free loans, and returned within the first 14 days – although this doesn’t happen very often, she says. “When I started there weren’t really any online galleries,” she recalls. “I would go to degree shows and think – ‘gosh why aren’t people buying this?’.” But it has become a fiercely competitive market – the advent of bigger online galleries such as Saatchi Art in 2011-12 meant that Ryan had to scale back her venture, which at one stage employed two people, to once again be a one-woman business. When visiting a degree show Ryan recommends talking to art tutors (make an appointment in advance) and suggests having a coffee with the artists themselves to try and gauge their long-term commitment. The best work sells quickly, so turn up early. Charles Saatchi, the advertising magnate and art collector, sometimes arrives at shows before all the artwork is installed and rival dealers get there (he is famed for buying up entire graduation shows). Investment experts say modern art is an effective hedge against inflation – returns tend to be better at times when prices in the economy are rising, which is the case now. When selling, anything under £6,000 is exempt from capital gains tax and further tax relief applies up to £15,000. But unlike shares, bonds or property it does not produce an income and is not a very liquid asset – you need to be prepared to hold it for several years and may not be able to sell when you want. Art investments are also unregulated, so you can’t fall back on the Financial Services Compensation Scheme if something goes wrong. Bear in mind too that there could be insurance and storage costs. Sarah Ryan of New Blood Art tips two artists who are graduating from their MAs this year. Michaela Hollyfield from Aberystwyth University and Myka Baum from the Royal College of Art. Hollyfield paints ambiguous, semi-abstract landscapes rich in colour, and her pieces are priced at around £275-plus. Baum, meanwhile, uses photography and printmaking and was selected for Bloomberg New Contemporaries in 2009, where the judges also included Wolfgang Tillmans. He said about her Lunar Mare series: “It’s a specific vision – it’s definitely something I have never seen before and it is an achievement.” Other artists to watch are Nicola Wiltshire and Steven Burden. Wiltshire, whose paintings sell for around £175-£750, makes her own paint using contemporary materials such as ground aluminium, and paints on fabric. Burden, who went to Goldsmiths, University of London, and Bath Spa University and has won the Black Swan Arts Open Prize, grew up on the Pepys Estate in Deptford, south London, and says his paintings are informed by the “out-of-scale fortresses” of the “urban jungle”. They sell for between £800 and £6,000. ARTOVERT is a cheap platform for artists to sell their work – commission applied to sales is only 2%, the lowest in the commercial art world, compared with 40% at New Blood Art. Artists ­create their own pages. Good materials such as quality paints and properly stretched canvases are important, as is the artist’s coherent, recognisable style and long-term commitment to their work – you don’t want to buy from someone who quits painting soon after. Look out for expert endorsements such as prizes or scholarships. Artists with an MA are a safer bet than BAs, but their work tends to be more expensive because they usually have several years’ more experience. Check out the “top picks” section of online galleries.

Gruzelier J.H.,Goldsmiths, University of London
Neuroscience and Biobehavioral Reviews | Year: 2014

In continuing this three-part review on validation of EEG-neurofeedback for optimal performance evidence is first provided for feedback influences on the CNS, the integration of EEG with fMRI methodology as well as anatomical correlates. Then whereas Parts I and II reviewed the considerable behavioural outcome gains and evidence for their feedback causation, part III lays bare the not inconsiderable methodological and theoretical conundrums. Cardinal assumptions amongst practitioners about specificity of topography, behavioural outcome and frequency bands are critically examined. The hitherto mostly neglected nature of feedback learning is reviewed including evidence of within- and between-session and successive baseline learning; the enduring impact on the tonic EEG; implications for experimental design, individual differences and the trainer-participant interface; distinguishing between the learning and mastery of self-regulation; connectivity, ratio, unidirectional and multimodal feedback protocols. A thorough grounding in human neuroscience plus interpersonal skills are considered prerequisites for scientific advancement and ethically sound practice. © 2014 Elsevier Ltd.

Gruzelier J.H.,Goldsmiths, University of London
Neuroscience and Biobehavioral Reviews | Year: 2014

A re-emergence of research on EEG-neurofeedback followed controlled evidence of clinical benefits and validation of cognitive/affective gains in healthy participants including correlations in support of feedback learning mediating outcome. Controlled studies with healthy and elderly participants, which have increased exponentially, are reviewed including protocols from the clinic: sensory-motor rhythm, beta1 and alpha/theta ratios, down-training theta maxima, and from neuroscience: upper-alpha, theta, gamma, alpha desynchronisation. Outcome gains include sustained attention, orienting and executive attention, the P300b, memory, spatial rotation, RT, complex psychomotor skills, implicit procedural memory, recognition memory, perceptual binding, intelligence, mood and well-being. Twenty-three of the controlled studies report neurofeedback learning indices along with beneficial outcomes, of which eight report correlations in support of a meditation link, results which will be supplemented by further creativity and the performing arts evidence in Part II. Validity evidence from optimal performance studies represents an advance for the neurofeedback field demonstrating that cross fertilisation between clinical and optimal performance domains will be fruitful. Theoretical and methodological issues are outlined further in Part III. © 2013 Elsevier Ltd.

Gruzelier J.H.,Goldsmiths, University of London
Neuroscience and Biobehavioral Reviews | Year: 2014

As a continuation of a review of evidence of the validity of cognitive/affective gains following neurofeedback in healthy participants, including correlations in support of the gains being mediated by feedback learning (Gruzelier, 2014a), the focus here is on the impact on creativity, especially in the performing arts including music, dance and acting. The majority of research involves alpha/theta (A/T), sensory-motor rhythm (SMR) and heart rate variability (HRV) protocols. There is evidence of reliable benefits from A/T training with advanced musicians especially for creative performance, and reliable benefits from both A/T and SMR training for novice music performance in adults and in a school study with children with impact on creativity, communication/presentation and technique. Making the SMR ratio training context ecologically relevant for actors enhanced creativity in stage performance, with added benefits from the more immersive training context. A/T and HRV training have benefitted dancers. The neurofeedback evidence adds to the rapidly accumulating validation of neurofeedback, while performing arts studies offer an opportunity for ecological validity in creativity research for both creative process and product. © 2013 Elsevier Ltd.

Skeggs B.,Goldsmiths, University of London
British Journal of Sociology | Year: 2014

We are living in a time when it is frequently assumed that the logic of capital has subsumed every single aspect of our lives, intervening in the organization of our intimate relations as well as the control of our time, including investments in the future (e.g. via debt). The theories that document the incursion of this logic (often through the terms of neoliberalism and/or governmentality) assume that this logic is internalized, works and organizes everything including our subjectivity. These theories performatively reproduce the very conditions they describe, shrinking the domain of values and making it subject to capital's logic. All values are reduced to value. Yet values and value are always dialogic, dependent and co-constituting. In this paper I chart the history by which value eclipses values and how this shrinks our sociological imagination. By outlining the historical processes that institutionalized different organizations of the population through political economy and the social contract, producing ideas of proper personhood premised on propriety, I detail how forms of raced, gendered and classed personhood was formed. The gaps between the proper and improper generate significant contradictions that offer both opportunities to and limits on capitals' lines of flight. It is the lacks, the residues, and the excess that cannot be captured by capital's mechanisms of valuation that will be explored in order to think beyond the logic of capital and show how values will always haunt value. © London School of Economics and Political Science 2014.

Blackwell T.,Goldsmiths, University of London
IEEE Transactions on Evolutionary Computation | Year: 2012

The dynamic update rule of particle swarm optimization is formulated as a second-order stochastic difference equation and general relations are derived for search focus, search spread, and swarm stability at stagnation. The relations are applied to three particular particle swarm optimization (PSO) implementations, the standard PSO of Clerc and Kennedy, a PSO with discrete recombination, and the Bare Bones swarm. The simplicity of the Bare Bones swarm facilitates theoretical analysis and a further no-collapse condition is derived. A series of experimental trials confirms that Bare Bones situated at the edge of collapse is comparable to other PSOs, and that performance can be still further improved with the use of an adaptive distribution. It is conjectured that, subject to spread, stability and no-collapse, there is a single encompassing particle swarm paradigm, and that an important aspect of parameter tuning within any particular manifestation is to remove any deleterious behavior that ensues from the dynamics. © 2012 IEEE.

Gruzelier J.H.,Goldsmiths, University of London
International Journal of Psychophysiology | Year: 2014

The common assumption in EEG-neurofeedback is one of functional specificity of the trained spectral bands, though it has been posited that only a nonspecific generalised learning process may be engaged. Earlier we reported differential effects on attention in healthy participants measured with continuous performance tests and the P300, following training of the sensory-motor rhythm band (SMR, 12-15. Hz) compared with the adjacent beta1 (15-18. hz) band. Here previously unreported results are presented with phenomenological data from an activation checklist in support of the putative calming effect of SMR neurofeedback. While within sessions both protocols induced tiredness, this was paralleled by an increase in calmness only following SMR training. The differential effect on mood was theoretically consistent and extends evidence of cognitive functional specificity with neurofeedback to affective processes. © 2012 .

Gabrys J.,Goldsmiths, University of London
Environment and Planning D: Society and Space | Year: 2014

A new wave of smart-city projects is underway that proposes to deploy sensor-based ubiquitous computing across urban infrastructures and mobile devices to achieve greater sustainability. But in what ways do these smart and sustainable cities give rise to distinct material-political arrangements and practices that potentially delimit urban 'citizenship' to a series of actions focused on monitoring and managing data? And what are the implications of computationally organized distributions of environmental governance that are programmed for distinct functionalities and are managed by corporate and state actors that engage with cities as datasets to be manipulated? In this paper I discuss the ways in which smart-city proposals might be understood through processes of environmentality or the distribution of governance within and through environments and environmental technologies. I do this by working through an early and formative smart-city design proposal, the Connected Sustainable Cities (CSC) project, developed by MIT and Cisco within the Connected Urban Development initiative between 2007 and 2008. Revisiting and reworking Foucault's notion of environmentality in the context of the CSC smart-city design proposal, I advance an approach to environmentality that deals not with the production of environmental subjects, but rather with the specific spatial- material distribution and relationality of power through environments, technologies, and ways of life. By updating and advancing environmentality through a discussion of computational urbanisms, I consider how practices and operations of citizenship emerge that are a critical part of the imaginings of smart and sustainable cities. This reversioning of environmentality through the smart city recasts who or what counts as a 'citizen' and attends to the ways in which citizenship is articulated environmentally through the distribution and feedback of monitoring and urban data practices, rather than through governable subjects or populations. © 2014 Pion and its Licensors.

Livingstone S.,The London School of Economics and Political Science | Smith P.K.,Goldsmiths, University of London
Journal of Child Psychology and Psychiatry and Allied Disciplines | Year: 2014

Aims and scope The usage of mobile phones and the internet by young people has increased rapidly in the past decade, approaching saturation by middle childhood in developed countries. Besides many benefits, online content, contact or conduct can be associated with risk of harm; most research has examined whether aggressive or sexual harms result from this. We examine the nature and prevalence of such risks, and evaluate the evidence regarding the factors that increase or protect against harm resulting from such risks, so as to inform the academic and practitioner knowledge base. We also identify the conceptual and methodological challenges encountered in this relatively new body of research, and highlight the pressing research gaps. Methods Given the pace of change in the market for communication technologies, we review research published since 2008. Following a thorough bibliographic search of literature from the key disciplines (psychology, sociology, education, media studies and computing sciences), the review concentrates on recent, high quality empirical studies, contextualizing these within an overview of the field. Findings Risks of cyberbullying, contact with strangers, sexual messaging ('sexting') and pornography generally affect fewer than one in five adolescents. Prevalence estimates vary according to definition and measurement, but do not appear to be rising substantially with increasing access to mobile and online technologies, possibly because these technologies pose no additional risk to offline behaviour, or because any risks are offset by a commensurate growth in safety awareness and initiatives. While not all online risks result in self-reported harm, a range of adverse emotional and psychosocial consequences is revealed by longitudinal studies. Useful for identifying which children are more vulnerable than others, evidence reveals several risk factors: personality factors (sensation-seeking, low self-esteem, psychological difficulties), social factors (lack of parental support, peer norms) and digital factors (online practices, digital skills, specific online sites). Conclusions Mobile and online risks are increasingly intertwined with pre-existing (offline) risks in children's lives. Research gaps, as well as implications for practitioners, are identified. The challenge is now to examine the relations among different risks, and to build on the risk and protective factors identified to design effective interventions. © 2014 The Authors. Journal of Child Psychology and Psychiatry. © 2014 Association for Child and Adolescent Mental Health.

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