Escolar Documentos
Profissional Documentos
Cultura Documentos
intellect
C o n t e n t s Poetry
Victoria Walters p.7
Richard Ferron p.22
Debate
The Nation: Myth or Reality?
Keith Cameron p.6
Crash Cultures
Jane Arthurs and Iain Grant p.10
The |Death of Rock?
Sean Albiez p.24
Fiction
Rite of Passage
Anthony Nanson p.8
Scene
Bangers & Smash
Sarah Chapman p.18
Streetstyle in |Devon p.28
qu
ar
te © 2003 Intellect Ltd. No part of this
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copied or transmitted in any form or
by any means without permission of
the publisher. Intellect accept no
responsibility for views expressed by
contributors to iQ; or for unsolicited
Dear Reader
It has been a tremendous oppertunity to publish this issue of iQ! New to magazine publishing,
Kate and I have liased with contributors, arts centres and lecturers to make this possible.
Issue 1 of iQ was published in February 2003 by Intellect from their base in the Bristol and
Bath area of the South West. Following the suggestion of its editor we decided to produce,
as part of our Publishing course, an edition from our base in Exeter and Plymouth. As we are
based at the University of Plymouth, we wanted to reflect our university’s enthusiasm for
experimental design, and so recruited the expertise of Visual Arts students. A big thank you to
Mike Endacott for his support. He has listened attentively to our suggestions and turned them
into this new exciting magazine!
We hope iQ’s fiction, poetry, debate and scene will inspire you to engage in the arts, both
theoretically and visually. Using cutting edge photography and digital techniques, we have
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and if you have any comments on how to advance iQ please do get in touch.
Many thanks
Emma Catherall
Guest Editors
Emma Catherall, PgDip/MA Publishing
Kate Macefield, PgDip/MA Publishing
Photography
Pete Langdon, Visual Arts
Sarah Chapman, Lecturer for Visual Arts
Myth or Reality?
In a Europe, which over uber alles’. Yet what constitutes a nation? Is it an eth-
the last decade has seen nic division? Is it a political one? a geographical one?
the demise of totalitarian a linguistic one? a combination of all these?
regimes and subsequent-
ly splintered up into new The term is certainly loaded with political force. In
states, the concept of times of threat, when a group of individuals feels in
nationhood and what it danger from another, then it would seem that the spir-
really signifies has it of the nation is revived and fomented as a unifying
become one of burning factor of defence. Since time immemorial, ancestors
relevance. Britons, have been invoked as an encouragement to the living.
Bosnians, Ukrainians and Where no knowledge of ancestors has existed then
Russians have at least leaders or would-be leaders have not hesitated to
one thing in common, invent them. During the Renaissance in Europe fami-
their wish to keep their lies employed men of letters to invent a genealogy for
distinct identity and to them and their followers, a legacy from the Emperor
distance themselves from Augustus who found a worthy singer of Rome’s past in
those of another nation. Virgil.
The British, while wishing
for closer ties between There is a strong correlation between political
the member states of the demands made by minority groups and their economic
European Community, and political standing within the greater community.
are still anxious not to Linguistic autonomy or rather movements which have
lose their sovereignty. as their avowed aim the maintenance of a minority
language are often associated with political ambitions
The word nation is which once they are achieved or palliated can lead to
bandied about consider- minority languages being left to fend for themselves
ably; we talk of the and, ironically, to perish. In the former Soviet Union,
French nation, the Stalin realised the unifying factor of a single language
Spanish nation, etc. In and tried to impose Russian upon the whole country to
many continental coun- the detriment of local languages. This led to the right
tries the concept of the to speak one’s own language becoming one of the pro-
‘patrie’ is part of their claimed aims of the emergent independent states. It
cultural heritage. will be interesting to see how they fare in the future.
President de Gaulle when Should we be like Dr Johnson and feel ‘sorry when any
addressing the nation language is lost, because languages are the pedigree
would virtually always of nations’?
allude, in the course of
his allocution, to Is the ‘nation’ therefore myth or reality? Are our own
‘Francaises, Francais’, British characteristics a result of our society or part of
thereby reminding his lis- a pattern which has been imposed on us? The bound-
teners of their national aries of a nation, can they be justified? Or are they the
affiliation. How many result of political activity, which subsequently tries to
countries have allusions provide a raison d’être for their existence? We all
to common national ori- believe that it exists, but is it just a socially accepted
gins in their national paradox?
anthems? e.g. ‘Land of
my fathers’, ‘Enfants de To read more about this topic go to:
la patrie’, ‘Deutschland www.iqmagazine.co.uk
6
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Template Poem
By Victoria Walters
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8
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S houting,
topple
grab a branch,
and dive running into
thorn bushes, arms
you
back, slept the whole day, have you woken in some land of
the dead where the sun rises where it should set?
You push yourself upright and your heart floods
earthward with the memory of what is lost and can-
not be redeemed. Shiver in the ridge-grazing wind,
hardness of rock, soft-
ness of flesh, the
crawling dance, push-
thrashing ahead for the ing forward, ever for-
avenues of deepest then freeze; a figure plods up the grassy slope, run- ward, squeeze upward
black. You must not flee, ning her fingers through the flowerheads, her face and on, breath shorter
not now, at this moment pink and tear streaked: the soul stealer's daughter, and harder like your
of moments, but you are she looks up with glinting alien eyes the colour of the hearts' pulse, thrust-
fleeing, you encompass sky. An instant of comprehension: the sun is rising ing, pushing, rhythm
the world with your after all and this valley before you is the soul steal- rocking to the beat,
bounding feet, your flesh er's land, see the pink sunglint on his metal roofs. please trust me, have
presses through the for- Two valleys back to back, like worlds reflected in no fear, just stretch
est mesh, thorns score water. and pull and twist up
your skin, but your legs and in and through,
are pumping, dancing, The girl is alone, no other soul in sight but like pain tense and tin-
uphill you run – till you two circling larks, and she keeps walking towards gling, let the tears
have left behind the may- you, nervous like you, greets you in a nasal tone, and come for what is gone,
hem of shouting and you she is trying to smile, but so sad, tears trembling in let go now, let go and
can slow down, alone her eyes. She tries to talk with you, looks at your be free, see the light
now, find a more careful wounds, but she has no medicine, she cannot steal ahead glowing,
way through the thorns, your soul, offers only a thin white cloth to clean your through this moment
but flinching in fear from cuts, all the time talking and you can hardly under- for ever . . .
every squeak and grunt stand what she is saying, only that she is fleeing like
and patter, for there are you are fleeing, she is running from the whiskered Face the daz-
wild beasts here and no one who will not let her spirit breathe. Her eyes like zling daylight, stumble
men to fight them. the sky seem to see your soul and to see beyond the out blinking, clutching
two valleys to a third, other world. the other, to the green
You climb the grass of morning, the
valley wall, but there is Come this way, let me show you. Along the sun high, and gaze at
nowhere to go beyond the ridge to the mountain's spur, to crags and caves the slopes descending,
world's thorn-crested where wild cats lair. This one, she says, I've never the streams converg-
rim; you are too drained gone inside, but sometimes I've felt a breath of air ing into sinuous loops
of strength to keep walk- blowing through. It is true, a breeze comes from the across a great plain,
ing and at last you flop cave's maw, its odour organic but not the stench of and beyond the plain,
down in long grass, a soft decay. its scattered hills and
bed for sleep or death, woods and vales,
too tired to care any She pauses at the threshold, so it is you beyond an immeasura-
more whether wild beasts who must step ahead into the darkness, then hold ble distance a deep
come, for there can be no out your hand to lead her between the dank rocky infinite blue that
belonging now, no being, walls; but she cannot follow with her long skirt drag- merges with the sky.
only dying. ging in the mud and trammelling her legs, she can- You lie down in the
not climb or crawl or dance, so unwrap the binding grass, no dancing now,
Sunrays on your fabric, let her body breathe like yours, let her reach and stare in terrified
bare skin wake you, the with her arms, thrust her legs, clamber over boulders wonder.
sun rising on the wrong and squeeze through gaps; together through the
side of the world. Is it darkness, the slimy wetness on skin, and ease a way
sunset already, have you through, with hands clasping, whispered encourage-
ment, heartbeats thumping inside the mountain,
IQ_layout_3 17/9/03 1:25 pm Page 12
10
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You’ll notice that neither of these ways Ben Highmore: Ballard chooses to
belong to the way in which our culture couch his Crash in an archaic religious
pays attention to crashes at all. It’s language. And I was wondering, what
bizarre. In an industrial civilisation, in a does a culture, a secular culture, look
technological civilisation, the only for that is out of control with its
address we have to the phenomenon of surroundings having to rely on belief
a crash, which happens every day on that has no religious form to it? The
every section of road on every highway culture we have, look to the television
on every surface of the globe, the only and the ‘dumbest car chase ever part
way we have of paying attention to this three’, it’s kind of a staple diet.
is through the scandal of the accident Something like the dumbest car crash
investigation. You know what happens ever, is normally couched in road safety
when there’s a crash. rhetoric, but nobody watches it for that,
do they? We watch it because we
You get a flurry of people. It’s like a know we are living on the edge of a
magnet. Everyone races towards the fragile world held together by belief.
crash scene, grieving relatives,
emergency services, insurance people Iain: It’s fascinatingly put, but the
working for the corporate people who whole idea of an anthropology of a
must be responsible somewhere down culture, that there’s nothing but belief.
the line. Everyone rushes to the crash. Our belief really has nothing to do with
Once they get there their sole voiced it. In a sense the increase in powerful-
concern is let’s learn all the lessons we ness of the technologies around us is
can, let’s find out why this happens and quite simply the recognition that this is
lets make sure it never happens again. truly a secular age, that the belief
And there’s a bizarreness in this. Of systems by which we sought to justify
course this is every day that we recog- our hold on the world have shattered
nise, this must never happen again. and left nothing in their place. In their
What, however, is behind it is the idea stead, however, comes a power wholly
that an accident, the crash, is not an invested in the machines themselves,
accident at all. It happened for a rea- which is physical. There is for the first
son! time, if you like since extremely
primitive times, a world which is
Jane Arthurs: What would happen if controlled by fates, by necessary laws,
you started from an event rather than by unalterable things, where our beliefs
from a set of theories of how we deal don’t matter. The only thing that makes
with crashes? What about the crash as a difference is that now we are more
an event as witnessed in Crash films powerless than the primitives were,
by Cronenberg and Ballard? because we no longer believe in magic.
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12
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statement of that position. There are over into something, which is a kind of
several things that I think are so keenly collective madness? It’s very easy in
important about what you suggest. Yes one’s individual life to believe that you
we can turn things off but the scope of can turn it off, but in our collective life
our arms is restricted, i.e. the whole it’s not so easy.
thing can’t be turned off unless, as it
were, we blow up the lot, in which case Iain: Is it broaching madness to
do we fulfil our own will or the suggest that we really have no control
catastrophic will of the machine? It whatsoever, the car crashed me so on
does become circular at a point. Either and so forth, whether the extension of
we blind ourselves to what’s going on that concept constitutes mass psychosis,
immediately beyond arms reach or we or is it simply a question of realism?
allow the technology to take us places And I think these two questions are
that technophobes tell us it inevitably connected in the following way:
will or where it’s inevitably going as a
matter of physics. One reason why belief is effective is
because there is no doubt when there’s
Tom Gunnig: This brings up a number of belief, so that for example, the explana-
things, that are key. One is that there’s tions that anthropologists give of
not just one technological environment primitive religions in so far as they are
but that it’s multiple and that one of animistic, in so far as they are magical,
the ways that I think we deal with one is not the belief as Freud said in the
technology is by mediating it through omnipotence of thought, it’s the belief
another. It struck me that one of the that thought is a component of the
most interesting things in the Ballard world around us, thought is a naturalis-
film is that he looks at the car and he tic event to be naturalistically
goes ‘and so we realise that we eter- explained. And this is fascinating in so
nally think the future has fins’. There’s far as it both mirrors and is distinct
this realm of historical change and from our own view of the accident.
actual fashion change where always
the future is what wasn’t last week, it The primitive explanation of the
is always going to be reacting against accident is that it is no accident at all
itself. I think you’re absolutely right, we but a highly bizarre and improbable
can never turn the system off, but the collision of two necessary tracks of
idea that it’s a totalising system, which objects. How else could a crash have
interacts and changes within itself, is occurred unless something had caused
something that is really important to these two entities to come together in
keep in mind. this very space at that very moment, to
think otherwise is to think the absolute-
Michael: My friend who’s a psychoana- ly improbable. So the primitive view of
lyst said that if he had somebody who the crash is that ‘something’ caused
came to him for therapy and thought this buffalo, in this place, running at
that they were really having a conversa- that speed, towards this man, moving
tion with a computer, he’d say he at that speed, at this time. What ‘that
couldn’t help him. He would need something’ is we don’t know.
somebody who knows about madness!
So in the analogy with cars, ‘did I In so far as ‘that something’ is an ele-
crash that car or did it crash me’, at ment of the natural world, in so far as
what point actually does our unarticu- it is necessary and deterministic, then
lated relationship to technology pass you know the only way that you can
IQ_layout_3 17/9/03 1:25 pm Page 16
BUY
affect it is by encouraging or discouraging it. When it works it’s THE
called magic, when it fails it’s also called magic! What persists BOOK
in both instances is belief.
But it’s also agency. I decide not to drink and drive but if we
just completely give up on the idea of any kind of intermediate
level of agency which is neither not drinking and driving, nor
some global active resistance which supposes that you can just
switch it off, then I think one thing that goes completely out of
the window is politics. I think unless we find some space which
raises all the philosophical differences about agency, I think we
are just in danger of losing any possibility of any rationale for
any politics, call it political theology if you like, but we need
something in there and for me that was one of the things that
cultural studies used to think it was about. I wouldn’t want it to
disappear.
14
IQ_layout_3 17/9/03 1:25 pm Page 17
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IQ_layout_3 17/9/03 1:25 pm Page 19
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Titles:
Bangers &
18
IQ_layout_3 17/9/03 1:26 pm Page 21
Smash
In the middle of a rural landscape stock-
car enthusiasts have carved out a tarmac
heaven where old write-offs are given a
colourful new lease of life. These petroleum
fuelled occasions are full of fraternity and
robust competition in equal measure.
IQ_layout_3 17/9/03 1:26 pm Page 22
20
IQ_layout_3 17/9/03 1:26 pm Page 23
21
IQ_layout_3 17/9/03 1:26 pm Page 24
22
IQ_layout_3 17/9/03 1:27 pm Page 25
IQ_layout_3 17/9/03 1:27 pm Page 26
Is it? Anybody noticed? This transformation occurred when the cultural weight
The bands featured on placed on the shoulders of showbiz rock and roll
the compilation included became too great and required an intellectual anti-
some half-decent US and mainstream ordination. By the late 1960s, rock music,
UK bands (The Von through The Beatles, Jimi Hendrix, Bob Dylan et al was
Bondies, Radio 4, Black said to have caused a ‘revolution in the head’. That is,
Rebel Motorcycle Club, youth culture had the false consciousness of con-
The Coral, The Music) as sumer society, parent culture and mainstream politics
well as New Zealanders lifted from it - by opening the doors of perception a
The Datsuns. The music new society could not only be imagined, but also built.
was neither new (being Rock, it has been argued, was central to this revelato-
variously ‘sourced’ from ry cultural moment, but others suggest that it merely
PiL, The Jesus and Mary soundtracked social transitions and changes that were
Chain, NY post-punk ‘no- happening anyway. Whatever, Psychedelia and protest
wave’ and ‘mutant disco’) music became associated with revolutionary counter-
nor revolutionary. Despite culture. With the increasing amplification of rock, the
the NMEs attempts to sell growth of festivals, increasing numbers of music mag-
this idea (literally, azines and papers, and the introduction of rock radio,
through t-shirts) the rock became increasingly audible and visible through-
‘rock’ public remained out the 1960s. It did so on the back of frenzied com-
unmoved. Everything was mercial exploitation that did not sit easily with rock
still the same, the mar- artists (who had greatly benefited from it!). The anti-
keting hype failed, and music industry and anti-mainstream rhetoric of rock
NME sales fell inexorably (borrowed from the 1960s political folk movement) has
while Kerrang!’s rose. been a feature of rock ever since, but one that each
generation feels it has discovered for itself.
But what constitutes a
‘rock revolution’? The his- Pop and rock music has also been viewed by cultural
tory of rock music since critics as a mere product of a mind-numbing corporate
the 1950s has been lit- music industry. Despite some suggesting 1960s rock
24
IQ_layout_3 17/9/03 1:27 pm Page 27
SEAN ALBIEZ is subject leader of BA Popular Culture, University of Plymouth. Forthcoming publications
include: 'Know History: Lydon, Cultural Capital and the Prog/Punk Dialectic' in the journal Popular Music
(Summer 2003); 'The Day the Music Died Laughing: Madonna & Country' in Madonna's Drowned Worlds:
New Approaches to Her Cultural Transformations (UK, Ashgate 2004); 'Sounds of Future Past: from Neu! to
Numan' in Pop Sounds (Germany, Transcript Verlag, Autumn, 2003). Main research interest is the history of
electronic popular music in the UK, US, France & Germany from progressive rock to techno.
IQ_layout_3 17/9/03 1:27 pm Page 30
Streetstyle
in Devon
illustration by Mike.E
Bill, 20
Studying Popular Culture
at the University of Plymouth
Popular Culture
Popular Culture will be useful for those exploring
employment opportunities in the creative and
cultural industries (music, film, arts, television
etc.) by providing a contextual understanding of
the contemporary cultural terrain. It will also
support practical work in other areas by provid-
ing a broad grounding in issues and debates at
the heart of the investigation of contemportary
popular culture.
28
IQ_layout_3 17/9/03 1:27 pm Page 31
Bob, 21
Studying Visual Arts
at the University of Plymouth
Visual Arts
Recent graduates have exhibited photographic
artwork nationally, for example at the ‘Five
Princelet Street Gallery, E1’. Another has recently
become an in-house designer for Tate Modern. The
Visual Arts course has also seen many graduates
become website creators, including a recent grad-
uate who now works for ‘Sony Complete
Entertainment’, while others have progressed to
higher degrees and further research.
IQ_layout_3 17/9/03 1:28 pm Page 32
Doris, 20
Studying Art History
at University of Plymouth
Art History
A degree in Art History combines the best
of both worlds. As a subject in the
humanities, it appeals to the employers in
business and industry who value commu-
nication skills, intellectual creativity, self-
reliance and powers of analysis.
Vocationally, it helps prepare students for
work in galleries and museums, auction
houses, arts publishing, heritage and
related arts organisations. Many of our
graduates have found jobs in all of these
fields; some have gone into teaching and
30 others have undertaken higher degrees.
IQ_layout_3 17/9/03 1:28 pm Page 33
The School of Arts and Humanities is a significant provider of humanities and creative arts
courses in the reigon. It offers a wide variety of subjects and a range of different approaches to
undergraduate and postgraduate study and research. Undergraduate courses in the School of Arts
and Humanities are organised in a group of subjects known collectively as the combined arts
scheme. This is uniquely different from many you will find in higher education. It is
V E RS
I I a modular scheme in which you can negotiate your own pattern of study. We
offer a wide range of choices, and guidance to help you make those choices.
UN
TY
of
E-mail: fae-admissions@plymouth.ac.uk
Y
T
M O U W eb: http://www.fae.plym.ac.uk
IQ_layout_3 17/9/03 1:24 pm Page 2
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