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<\/strong><\/p>\n20-21 May 10am-4pm @The Margate School<\/strong><\/p>\n A drop in session for residents and visitors to think about the ways we navigate the town and re-draw the map from our own perspectives.<\/p>\n “The map is not the territory” – Alfred Korzybski<\/strong><\/p>\n Maps often shape the ways we view our environment – but these are abstract at best and created for specific reasons. Maps are never neutral.<\/p>\n Using a process of\u00a0counter-mapping<\/em>\u00a0we can shed light on how spaces are actually used, and how what places really mean to people.<\/p>\n Over two days you are invited to drop in, chat, have a tea or coffee, and draw out the routes and places that matter to you:<\/p>\n Run by TMS Sociologist-in-Residence David Nettleingham<\/p>\n More information: Redrawing the Map<\/a><\/p>\n Public Lecture and Performance 2nd December 2022, doors open 5.30pm @The Margate School<\/strong><\/p>\n benjin is a multi-instrumentalist, academic, artist and storyteller who has toured with a number of experimental ensembles over the last 15 years. Taking inspiration from the UK\u2019s unique maritime heritage, his solo compositions use classical guitar, cello, harp, clarinet, vocals, nyckelharpa, field recordings and found sounds. Aside from regular concert performances, benjin’s music has been featured on BBC Radio 6 and BBC Radio 3, and at the TATE and Serpentine Galleries.<\/p>\n Programme Description<\/strong><\/p>\n Music for Cello and Nyckelharpa, benjin\u2019s 9th solo album, is a musical conversation between the cello and its lesser-known cousin, the nyckelharpa. Translated into English as a \u2018keyed fiddle\u2019 or literally a \u2018key harp\u2019, the nyckelharpa is a bowed instrument with three melody strings, one drone and twelve sympathetic strings (which give it its unique ethereal sound). The left hand operates three (or four) separate rows of keys which then press directly onto the strings and change the notes. This keyed mechanism means that all ornamentation on the \u2018harpa\u2019 is without vibrato and imbued with a distinct percussive aesthetic.<\/p>\n Over the last two centuries, the nyckelharpa has been primarily upheld as the national instrument of Sweden where it is generally played in a variety of folk-dance music contexts. However, from decorative carvings found on the entrances to 14th Century churches in Lower Saxony, through to fresco paintings adorning halls in Renaissance Siena, traces of premodern iterations of the keyed fiddle can be found across Europe. Given this pan-European lineage, the music contained in this concert\/seminar seeks to expand our ideas of the nyckelharpa and to reach beyond discrete national boundaries and \u2018traditional\u2019 repertoires. Amongst original compositions, a Bach violin sonata and dense free form improvisations, you will also find minimalist arrangements of the Swedish lament \u2018Vem Kan Segla F\u00f6rutan Vind?\u2019 (Who Can Sail Without the Wind?) and the Abbotts Bromley Horn Dance, a British folk song which can be traced back to the 1200s.<\/p>\n Book Here<\/a><\/p>\n Public Lecture 1st November 2022, doors open 5.30pm @ The Margate School<\/strong><\/p>\n In recent years, sociological and geographical writing has seen a rebirth of interest and appreciation of ruins, abandoned and neglected spaces of industrial modernity. This work has often emphasised the sensuousness and material nature of industrial ruins largely in terms of decay, disorder and blight, or the affective elements of these spaces through concepts such as \u2018ghostliness\u2019 and \u2018haunting\u2019. This paper is an investigation into ruins or abandoned spaces which do not have materiality or temporality: digital ruins. Existing in a kind of eternal present, such spaces do not decay, yet still demonstrate many of the experiences of what we understand to be ruin, abandonment or blight. This presentation is based on my autoethnographic research of three abandoned or nearly-abandoned virtual worlds (Twinity, Active Worlds, Blue Mars), and reconsiders the notions of \u2018ruin\u2019 within the increasingly important context of digital spaces, the utopian rhetorics which framed the development of these worlds, and situates the digital ruin within a wider critique of digital prosumerism and the digital economy. It also calls for a reframing of the internet more widely as a space not only of inevitable \u2018progress\u2019, but also as a space of endemic abandonment and waste.<\/p>\n Book Here<\/a><\/p>\n <\/p>\n Public Lecture Postponed<\/strong><\/span><\/p>\n The conjunction of Brexit,\u00a0the\u00a0Kent variant of COVID-19 and the \u2018migrant crisis\u2019 has put the county in the headlines like never before. Images of asylum seekers and refugees on Kent beaches, lorries queued on motorways and the crumbling white cliffs of Dover have all been used to support ideas that severing ties with the EU was the best \u2013 or worst \u2013 thing the UK has ever done. In\u00a0his\u00a0book\u00a0Borderland<\/i>, Phil Hubbard \u2013 an exiled man of Kent – considers\u00a0the\u00a0county\u2019s role as the imagined\u00a0\u2018frontline\u2019\u00a0of the nation, alighting on a number of key sites which symbolise the changing relationship between the UK and its continental neighbours. Moving from the geopolitics of the Channel Tunnel to the cultivation of oysters at Whitstable, from Derek Jarman\u2019s feted cottage at Dungeness to the art-fuelled gentrification of Margate,\u00a0Borderland<\/i>\u00a0<\/i>bridges geography, history, and archaeology, to pose important questions about the way that national identities emerge from contested local landscapes.<\/p>\n Book Here soon<\/p>\n","protected":false},"excerpt":{"rendered":" Re-drawing the Map Public Workshop 20-21 May 10am-4pm @The Margate School A drop in session for residents and visitors to think about the ways we … Read more<\/a><\/p>\n","protected":false},"author":60517,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/pages\/11"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/users\/60517"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/comments?post=11"}],"version-history":[{"count":12,"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/pages\/11\/revisions"}],"predecessor-version":[{"id":167,"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/pages\/11\/revisions\/167"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/sociologistinresidence\/wp-json\/wp\/v2\/media?parent=11"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
\nbenjin – Music for Cello and Nyckelharpa<\/h2>\n
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\nVince Miller | Digital Ruins<\/h2>\n
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\nPhil Hubbard | Borderland: Identity and Belonging at the Edge of England<\/h2>\n
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