Serialism is often canonically pinned to a few mid-century acoustic pieces, but this textbook definition is unnecessarily narrow. Would it be possible to consider computer music, EDM, and hip hop as serial, in some way? This essay argues that a ‘serial attitude’ emerges in the dialectic between analogue and digital ways of musicking. Electronic technologies – from generators to drum machines – crucially mediate such attitudes and behaviours. In sum, serial attitudes shape and are shaped by technological affordances. Case studies include the analogue electronic studio of the WDR, early computer music laboratories at Utrecht, Bell Labs, and Columbia-Princeton, and the vernacular musics of Yellow Magic Orchestra and Afrika Bambaataa. I explore resonances between these disparate scenes, while also arguing for their particularity. This essay rethinks serialism as a practice imbricated with technology, extending beyond the narrow confines of high-art academic institutions.

Milton Babbitt is accepted as one of the earliest adopters of integral serialism, a label that has been applied to a number of European composers including Pierre Boulez, Karlheinz Stockhausen, Luige Nono, and Jean Barraqué. What sets Babbitt apart from this group encompasses both his compositional techniques and his roots as an American musician. Through extensions of twelve-tone techniques pioneered by Arnold Schoenberg and Anton Webern, Babbitt explored the possibilities of this new approach to pitch structure not so much to recapture historical modes of music making but to build a way of making music derived from a set of first principles emerging from using relationships amongst aggregates of the twelve pitch-classes. He also developed ways of thinking about temporal relationships that adapted his insights into pitch relationships in order to create a compositional world in which to be creative. The chapter traces this development over the span of his career.

With the principle of mutual recognition, the EU facilitates effective and efficient law enforcement cooperation among its Member States. Foreign judicial decisions are treated like domestic decisions, while differences in the national criminal justice systems are maintained. Prolonged examinations are no longer necessary and “safe havens” for criminals are closed. The basis of this cooperation, however, is mutual trust in the rule of law. The author uses, inter alia, the current example of Encrochat to show concrete possibilities for application. There, the French criminal authorities achieved a considerable cross-border investigative success by decrypting crypto-mobile devices of that company, which were frequently used by criminals. Through the recognition and execution of European Investigation Orders in France, those findings could also be used in other Member States and considerable prosecution successes achieved. However, the scope and variety of such measures can lead to problems: Only corresponding measures can be recognised. Violations of the Charter of Fundamental Rights EU must not be enforced. Inhumane treatment of detainees may prevent the enforcement of a European Arrest Warrant in individual cases. The loss of trust in the rule of law in some Member States, the EUs reaction to this danger and the control function of CJEU decisions are currently determining legal policy.

This chapter deals with the history of serialism in Central and Eastern Europe. Starting from the Polish perspective, it examines the successive stages of the response to the serial ideas in such countries as Bulgaria, Czechoslovakia, Romania, Hungary, Yugoslavia (Serbia, Croatia, and Slovenia), and the Baltic states (Lithuania, Latvia, and Estonia). The chapter draws attention to the social and political contexts of serialism’s development throughout particular periods (up to the outbreak of World War II, during the time of pressure from the totalitarian systems, and after the ‘thaw’ that emerged in the mid-1950s). It considers both the opportunities available to composers working in the so-called Eastern Bloc under the conditions of state socialism and those who worked in exile. Using examples of substantial works and influential figures, the relationship between original serial ideas and individual strategies for their transformative reception is also discussed.

The chapter traces the development of police cooperation in Europe from the Napoleonic period to the Second World War and beyond. It shows that police cooperation was shaped to a considerable extent by individual initiatives and also by bilateralism, the latter still having an impact today. Even after the founding of the EU, regional interests or initiatives are decisive. In particular, the Convention implementing the Schengen Agreement, still very important for everyday police cooperation, goes back to an initiative of individual member states. Going beyond bilateral interests and police mentalities, it seems that the very nature of police work is less influenceable by common denominators such as the principle of mutual recognition. Thus, it is not surprising that, for example, the Directive on the European Investigation Order provides, with regard to cross-border covert personal investigations, a provision that does not go beyond its predecessor provisions. The article concludes with a stocktaking of the data exchange of Europes police forces, based in particular on the Schengen Information System. Considering the technical inclination of today’s police practice, the exchange of information will certainly have a decisive effect on any future developments.

The influence of serialism owes largely to its aesthetics, to the ideas behind the music. This chapter presents and examines those ideas. The chapter begins with a brief definition of terms and then analyses specific examples of serial aesthetics in detail. The examples introduce central themes that recur across a diversity of sources in the literature on serial music. These themes include narratives of historical progress, the significance of politics, contemporaneous science and technology, paradigms of experimentation, the ideal of organicism, and models for listening. Following the explication of these themes, the chapter concludes by considering the legacy of serialism and its relevance today.

This chapter defines serialism in terms of dodecaphonic technique, beginning with a discussion of the role of analysis in relationship to performance. Whilst Webern’s Variations op. 27 have been the subject of exhaustive analysis by other commentators, the present discussion takes a somewhat different approach, considering the interpretive insights gained by a study of sketch material. The composer’s drafts are examined in relation to the published score for their potential to enrich the performer’s perceptions. The second part of the chapter traces the movement to integral serialism in the post-war period, and the challenges of ‘pointillist’ scores with their profusion of agogic and dynamic marks, which leave seemingly little scope for interpretation in the traditional sense. The contributions of Boulez and Stockhausen to the piano repertoire are considered, and a discussion of the role of the interpreter in indeterminate scores of the period occupies the final section of the chapter.

Churchill is often ranked as one of the most hated figures in Irish history but he was also one of the most influential politicians in shaping relations both within and between Britain and Ireland. Churchill played a formative role in the ‘Irish Question’. At the beginning of his career he was a Unionist, inheriting his father’s sympathy for Ulster, but converted to Home Rule. The chapter contrasts the impact of social reforms in helping Irish pensioners with the role of Irish suffragettes in defeating Churchill at Manchester in 1908. It looks at how he tried to navigate between the Unionists and nationalists in the Edwardian era, before showing how the war (including Irish losses at Gallipoli) led to rebellion. Thereafter, Churchill pursued a dual strategy of repression and negotiation and played a key role in the Anglo-Irish Treaty and the subsequent events surrounding partition. His belligerence has tended to overshadow the multi-faceted ways he dealt with and thought about the Irish.

Churchill’s art has remained marginal to the study of his legacy in the twentieth century and yet he was in correspondence with some of the most highly regarded painters of the period, and was successfully presented and reviewed. The chapter explores Churchill’s relationship with art: his encounter with painting, his mentors and influences, painting, politics and the tension between tradition and modernism in the art of his age, the reception of his works, and the question of the amateur versus the professional artist.

This chapter explores how law and gender come together to co-constitute working subjects and with what conceptual, normative and distributive effects. The notion of subjectivity deployed here is both ontological and epistemological. It is ontological in the sense of being concerned with aspects of being – with who or what the subject is; and it is epistemological in that it is engaged with questions of knowledge – with how knowledge of and by the subject is produced and validated. Thus understood, subjectivity offers a space of enquiry into questions about the formation, shape and consequences of consciousness and the production, validation and effects of knowledge.

Reference to embodiment is increasingly visible in legal scholarship, where it is assigned a number of meanings. At times it is employed descriptively to mean the fleshiness of the human condition, indistinguishable from reference to the body or corporeality. Elsewhere, it is used to signify something more than this fleshiness: in part, a challenge to the mind/body split that has haunted legal thought and practice. Finally, for a growing number of legal scholars, it refers to the experience of our corporeality at the intersection of discourses and institutions. While a theoretically richer account of our lives as ‘bio-social’1 beings is impacting on legal scholarship, what embodiment might mean with regard to the specific discourses and institutions of law and legal scholarship is only just beginning to be explored.2 In response, this chapter sets out to clarify and develop a clear understanding of legal embodiment; that is, the particular place of law in processes and practices of embodiment. In doing so, it identifies the body as an important site where law and gender entwine in processes that construct legal subjects.

For much of the decade prior to 1940, Churchill was out of office and often seen as a warmonger. He saw appeasement as a policy not befitting a country of Britain’s standing that failed to take account of innate German militarism. One of his most effective tactics in opposing it was his evocative use of history, drawing parallels between his own life and that of his eighteenth-century ancestor, the 1st Duke of Marlborough. To Churchill, the British government’s dealings with Gandhi and the Congress Party were also a form of appeasement. There was a paradox in his thinking; that the forms of nationalism that bolstered British international power were legitimate, while those that did not were not. Churchill’s opposition to Hitler was based on his own first-hand experiences while researching his Marlborough biography and on his reading of the German ‘mental map’. The chapter traces his evolving response from the German occupation of the Rhineland in 1936 through to the Munich Crisis of 1938 and beyond. It ends by analysing Churchill’s path to power as prime minister, suggesting that far from being a triumph of opportunity, there were simply no other suitable candidates for the post.

The chapter explores the background to Churchill’s upbringing and its bearing on his future career. It introduces and contrasts his American Jerome lineage with his aristocratic British Marlborough ancestry before describing the courtship and early married life of Jennie Jerome and Lord Randolph Churchill. Winston’s education is placed in the context of the meteoric rise and sudden collapse of his father’s political career, the family’s financial difficulties and Lord Randolph’s failing health. The chapter finishes with an analysis of Churchill’s family inheritance and concludes that its importance was more social and political than financial.