This chapter relates a broadly chronological story of the developments over the last 50 years that have sought to reshape the science curriculum in English schools by introducing aspects of the history of science and nature of science. The chapter highlights key curriculum projects by outlining the contexts in which they developed and summarising their rationales as set out in their publications. It also provides signposts to some of the reports of research and scholarship that have evaluated these initiatives. The (...) chapter shows how the first national curriculum in 1989 was influenced by earlier initiatives as it made teaching about the nature of science mandatory for all. This requirement faded into the background after a few years and then re-emerged with a new rationale as ‘how science works’ in 2004. The chapter ends by looking to the future with a discussion of a new course which contrasts with earlier traditions by focussing the teaching and learning on the history and philosophy of science rather than using ideas from these disciplines to teach about science. (shrink)

Laboratory of Synthesis is a publishing project edited by Robert Garnett and Andrew Hunt that will bring together philosophers, artists, theorists and critics in order to discuss new approaches to art writing. It intends to operate in the widening gap between the mainstream art magazine and the academic journal in order to create new conjunctions and productive disjunctions between theory and practice out of which new voices and new modes of art writing might emerge.

Modern epistemology is reluctant to presume the objectivity of a mental event. Because a valid theory of knowledge is subjected to objective standards of rationality, the invocation of a transcendent ground of existence termed ‘god’ is deemed extra‐systematic. This reference lacks warrant because it fails to satisfy the impartial criteria methodologically basic to contemporary paradigms of knowledge. Still the biochemist Arthur Peacocke (1924–2006) claimed defensible public truth for an ultimate reality based on the ‘supremely’ rational nature of existence; it is (...) the further contention of this paper that there are intelligible patterns to the universe whose discovery is incapable of ‘objective’ explanation. By failing to meet these criteria, however, they do not fall into irrationality, still less do they disqualify or exclude themselves from public consideration; quite the opposite. There are perhaps depths to human experience then, including science, to which an existentialist epistemology is appropriate. In this connection the philosophy of Karl Jaspers (1883–1969) provides a compelling account of the transition of scientific research into aesthetics and theological discourse. (shrink)

This title sees the re-emergence of the seminal 1970s magazine Curtains edited by Paul Buck. With its early promotion of French writers such as Georges Bataille, Maurice Blanchot, Jacques Derrida, Jean-Pierre Faye and Edmond Jabès, Curtains’ re-appearance in 2016 arrives after an exhibition at Focal Point Gallery in 2012 that was recreated from an earlier 1992 work at Cabinet Gallery around the concept of ‘disappearing’. The invited contributions come from thirteen artists with whom the editor has engaged over the years. (...) In addition, Buck has returned to pull threads from the earlier editions of his magazine to explore ideas with writers encountered in the intervening years, making all appear in a consolidated grouping as a final gesture, one that refuses to disappear. Contributions include those by: Kathy Acker, Anne-Marie Albiach, Mireille Andres, Stephen Barber, David Barton, Diane Bataille, Georges Bataille, Mathieu Bénézet, Jean-Pierre Bobillot, Joë Bousquet, Michael Camus, Danielle Collobert, David Coxhead, John Cussans, Tatjana Doll, Jerry Estrin, Ulli Freer, Margarita Gluzsberg, Paul Green, Anouchka Grose, Pierre Guyotat, Susan Hiller, Andrew Hunt, Franz Kamin, Chris Kraus, Liane Lang, Roger Laporte, Francesca Lisette, Lucy McKenzie, Bernard Noël, Hestia Peppe, Holly Pester, Perle Petit, Richard Prince, Pascal Quignard, Clunie Reid, Mitsou Ronat, Claude Royet-Journoud, Eugène Savitzkaya, Will Shutes, Sophie Sleigh-Johnson, Miroslav Tichy, Colette Thomas, Simon Thompson, Sophie von Hellermann, and Gabrielle Wittkop. (shrink)

Edited by Andrew Hunt and Cally Spooner with an introduction by Will Holder, this new title contains Cally Spooner’s complete scripts to date. As an artist who writes neither from a confessional standpoint, nor from the position of fragmented ‘art writing’, Spooner’s prose makes the verbal visual, and focuses on a visceral use of text as an invitation to act. Her narratives operate energetically in collective schisms through being performed, and often collapse to attack the spectator, observer or reader. Importantly, (...) the artist appropriates historical voices as a mode of activity, and uses theory to ignite imaginative scenarios. Scripts comprises twelve works produced between 2009 and 2015, including: A Six Stage Manifesto On Action, Collapsing In Parts, and And You Were Wonderful, On Stage. This book is the first in the ‘Slimvolume Synthesis’ series, a sequence of publications that includes texts by artists, critics, curators, poets and theorists to produce new creative disjunctions between art and writing. (shrink)