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  Cronos Devouring his Children , Damien Hirst, 2011, image from Pinterest I remembered his eyes bulging as he tore his children apart. They were actually closed and his mouth gaped. You can almost hear the yells of him. Perhaps my memory of the bulging eyes and manic flesh eating came from an equally graphic painting rather than this sculpture. Knowing me, it was of a totally different character if so. Much of the confronting horror of Cronos Devouring his Children is obscured by coral, with enough of the scene visible that Cronos’s headless young son stretched between his hands and other children gripping his knees evoke the debauched fuller picture. There are other figures around the mounded base of the sculpture, and the guide text assures me that baby Zeus, who would go on to liberate his siblings from inside of his father and later destroy him in the Olympians’ war against the Titans, is present, but I can’t verify this for myself from the photos at my disposal. As happens in

I have the great pleasure of reporting from Lausanne, Switzerland, this week. I've been here giving a guest seminar for my friend Jenn's MA linguistics module on language in TV and film. We did this before but via Zoom during lockdown, and this time everything worked out so I could come in person.  My task was to cover film stylistics and the terminology used in moving image/audiovisual analysis. I also wanted to link to topics such as accent and ethnicity covered elsewhere in the module. My go-to to exemplify all this is No (dir. Pablo Larraín, 2012) as it is a meeting place for television and cinema, the main character (René Saavedra played by Gael Garcia Bernal) has returned from exile to Mexico and is marked as not quite Chilean by his accent, there is a notable absent presence of Chile's indigenous peoples, and it is one of those films whose aesthetics directly impacted by the recording apparatus and the way it has been edited make it an excellent candidate for demonst

The following paragraphs are my supporting statements from an application to Arts Council Northern Ireland's Support for Individual Artists Programme. Even though I reside in England I was encouraged to apply on the basis that others who have had to move from Northern Ireland to Britain for work have been awarded grants in previous years and much of my work is still concerned with home and I still have a family address there. My application was ineligible this year.  *** In observing arts and culture in Northern Ireland for the past 15 years, initially as a scholar of film and visual studies and now as a practitioner developing a creative-critical writing practice, I have identified what I call a performative impulse. The generation of artists prominent in the 1980s to 2000s, to generalise, exhibited more of an archival impulse associated with memory and post-memory processes as examined by Marianne Hirsch, and for example include Willie Doherty, Alastair MacLennan, Victor Sloan an