#scaffolders in Basingstoke

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Scaffolding might seem like a background detail in any project, but it plays a central role in safety and efficiency. Whether you’re planning a domestic renovation or a commercial build, hiring experienced scaffolders in Basingstoke is crucial. A properly erected scaffold ensures safety for everyone on-site. Professional scaffolders follow strict procedures, inspect their equipment regularly, and build systems designed to last for the full duration of a job.

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If a device, scaffold tube, ladder, or even a jet of water details or gets also close to an cost wire, then energy will undoubtedly be conducted to earth. This will cause a fireplace or explosion and electric shock and burn off incidents to anyone touching the device or equipment. An expense wire doesn't need to be moved to cause serious damage or demise as skip‌ ‌hire‌ ‌Basingstoke‌  may jump, or arc, across little gaps.

One of many greatest issues is that folks merely do not observe overhead lines when they're exhausted, speeding or cutting corners. They can be difficult to identify, eg in foggy or dull situations, if they mix in to the environmental surroundings at the edge of woodland, or when they are operating similar to, or under, other lines. Generally assume that the power line is stay until and till the master of the line has proved it is dead. This guidance is for those who may be about to function near expense lines

wherever there's a danger of contact with the cables, and explains the steps you must decide to try reduce experience of them. It's generally directed at employers and workers who are supervising or in get a grip on of perform near stay expense lines, nonetheless it may also be useful for people who are holding out the work.

Many expense lines have wires supported on metal towers/pylons or wooden rods - they are usually named'transmission lines'or'distribution lines '. Many high-voltage cost lines, ie more than 1000 V (1000 V = 1 kV) have cables that are blank and uninsulated however many have wires with a light plastic covering or coating. All high-voltage lines should be handled like they are uninsulated. While many low-voltage overhead lines (ie less than 1 kV) have clean uninsulated wires, some have wires covered with insulating material. But, that efficiency will often take bad issue or, with some older lines, it could not become powerful padding; in these instances you need to address the point in the same way being an uninsulated line. If in any uncertainty, you should take a precautionary strategy and consult the master of the line.

There's a legal minimum level for expense lines which ranges based on the voltage carried. Usually, the larger the voltage, the higher the cables should be over ground. Equipment such as for instance transformers and fuses attached to wooden posts and other types of supports can often be below these heights. Additionally, there are proposed minimum clearances published by the Energy Communities Association.

The law needs that work may be carried out in close closeness to live overhead lines just when there is no substitute and just when the dangers are acceptable and could be correctly controlled. You may use that guidance to organize a risk evaluation that's certain to the site. Companies and employees who perform near to an expense line must control the risks. Expense range owners have a work to reduce the risks from their lines and, when contacted, suggest others on how to control the risks. The line operator will often be an electricity company, referred to as a transmission or circulation network owner, but may be another type of organisation, eg System Train, or a local manager, eg the agent of a caravan park.

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Strand 1: Theorising Moving Images

1.   Ontology

Reading:

André Bazin, "The Ontology of the Photographic Image.” In What is Cinema?. Volume I. Hugh Gray, ed. and trans. (Berkeley: University of California Press, 1967), pp. 9-16.

Alessandre Raenga, On the Sleeve of the Visual: Race as Face Value (Dartmouth, NH: University Press of New England), pp. 21-51.

Stanley Cavell, The World Viewed. Cambridge, Massachusetts: Harvard University Press, 1979), pp. 10-25; 118-133.

Jean-Luc Nancy, "The image--the Distinct.” In Nancy, Jean-Luc. The Ground of the Image. Jeff Fort, trans. (New York: Fordham University Press, 2005), pp. 1-14.

Further Reading

Martin Heidegger, 'The Question Concerning Technology', The Question Concerning Technology and Other Essays, William Lovitt, trans. (New York: Harper Perennial, 1977), 3-35.

Screening

Electrocuting an Elephant (Edison, 1903)

Study in Choreography for the Camera

How It Feels to Be Run Over (Hepworth, 1900)

Blow Job (Andy Warhol, 1963)

(nostalgia) (Hollis Frampton, 1971)

The Girl Chewing Gum (John Smith, 1976)

2. The Aesthetic

Reading  

Immanuel Kant, The Critique of the power of judgment, Paul Guyer and Eric Matthews, trans. (Cambridge: Cambridge UP, 2000 [1790]), pp. 89-127; 182-187.

Gilles Deleuze, 'Having an Idea in Cinema', Deleuze & Guattari: New Mappings in Politics, Philosophy and Culture Eleanor Kaufman and Kevin Jon Heller, eds. (Minneapolis and London: University of Minnesota Press, 1994), pp. 14-19.

Jacques Rancière, The Politics of Aesthetics, Gabriel Rockhill, trans. (London: Continuum, 2004), pp. 12-34 and 42-45.

 Further Reading

Jacques Rancière, 'What Aesthetics Can Mean', From an Aesthetic Point of View: Philosophy, Art and the Sciences, Peter Osborne, ed. (London: Serpent's Tail, 2000), 13-33.

Douglas Burnham, An Introduction to Kant's Critique of Judgement (Edinburgh University Press, 2000)

Fiona Hughes, Kant's Critique of Aesthetic Judgement: A Reader's Guide (London: Continuum, 2010)

Screening  

Bamako (Abderrahmane Sissako, 2006)

Mothlight (Stan Brakhage,1963)

Study in Color and Black and White (Stan Brakhage,1993)

3. Form and Medium

Reading

G.W.F. Hegel, Aesthetics: Lectures on Fine Art, T.M. Knox, trans. (Oxford: Clarendon Press, 1975 [1835]), pp. 1-55.

Karl Marx, Capital, Vol. I, Ben Fowkes, trans. (London: Penguin 1990), Chapter 7, Part 1 'The Labour Process', pp. 283-292.

Maya Deren, An Anagram of Ideas on Art, Form, and Film, in Essential Deren, Bruce R. McPherson, ed. (Kingston, NY: Documentext, 2005), pp. 85-109.

Bernard Siegert, ‘Doors: On the Materiality of the Symbolic’, John Durhan Peters, trans. Grey Room 47 (Spring 2012), pp. 6-23.

Further Reading

Erwin Panofksy, Perspective as Symbolic Form, Christopher S. Wood, trans. (New York: Zone Books, 1997)

Peter Bürger, Theory of the Avant-Garde, Michael Shaw, trans. (Minneapolis: University of Minnesota Press, 1984), pp. 55-82.

David Bordwell, Narration in the Fiction Film (Madison, WI: University of Wisconsin Press, 1985), pp. 3-47; 48-62.

Eugenie Brinkema, The Forms of the Affects (Durham, NC: Duke University Press, 2014), pp. 26-46.

Lorenz Engell, ‘Ontogenetic machinery’, Radical Philosophy 169 (September-October 2011), pp. 10-12.

Screenings

Ritual in Transfigured Time (Maya Deren, 1946)

Playtime (Jacques Tati, 1967)

4. Watching

Reading

·         Karl Marx, Capital, Vol. I, Ben Fowkes, trans. (London: Penguin 1990); Chapter 1, Section 4, 'The Fetishism of the Commodity and its Secret', pp. 163-177.

·         Sigmund Freud, 'Fetishism' (1927), The Complete Psychological Works of Sigmund Freud, Vol. XXI, James Strachey, trans. (London: Hogarth and the Institute of Psychoanalysis, 1950), pp. 147-157.

·         Laura Mulvey, 'Visual Pleasure and Narrative Cinema', Screen 16:3 (Autumn 1975), pp. 6-18.

·         bell hooks, 'The Oppositional Gaze: Black Female Spectators'. In Black Looks: Race and Representation (Boston: South End Press, 1992), pp. 115-152.

·         Jonathan Beller, The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle (Dartmouth College Press, 2006), pp. 1-33.

Further Reading

·         Theodor Adorno and Max Horkheimer, 'The Culture Industry: Enlightenment as Mass Deception', in Dialectic of Enlightenment, John Cumming, trans. (London: Verso, 1997 [1944]), pp. 120-167.

·         Jean-Louis Baudry, 'Ideological Effects of the Basic Cinematographic Apparatus', trans. Alan Williams, Film Quarterly, 28.2 (Winter 1974-5), pp. 39-47.

·         Jean-Louis Baudry, 'The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema', Camera Obscura 1 (Fall 1976), pp. 104-128.

·         Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier. Celia Britton, trans. (Basingstoke: Macmillan, 1982)

Screening

·         Imitation of Life (Douglas Sirk, 1959)

5. Time

Reading

Mary Ann Doane, 'The Representability of Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA.: Harvard University Press, 2002), pp. 1-32.

Mary Ann Doane, 'Zeno's Paradox: The Emergence of Cinematic Time', in The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA; London: Harvard University Press, 2002), pp. 172-205.

Laura Mulvey, 'Passing Time', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 17-32.

Laura Mulvey, 'Uncertainty: Natural Magic and the Art of Deception', in Death 24x a Second: Stillness and the Moving Image (London: Reaktion, 2006), pp. 33-53.

David Rodowick, 'The Virtual Life of Film', in The Virtual Life of Film (Cambridge, MA: Harvard University Press, 2007), pp. 1-24.

Garrett Stewart, 'Introduction: An Optical Allusion', in Framed Time: Toward a Postfilmic Cinema, (Chicago: University of Chicago Press, 2007), pp. 1-19.

Screening

La Jetée (Chris Marker, 1962)

L'Année dernière à Marienbad (Alain Resnais, 1961)

Arrebato (Iván Zulueta, 1979-80)

6. Sensation 

Reading

Viktor Shklovskii, 'Art as Device', (1919), in Theory of Prose, trans. and ed. Benjamin Sher (Illinois: Dalkey Archive Press, 1990), pp. 1-15.

Dziga Vertov, 'The Cine-Eyes. A Revolution', (1923), in Richard Taylor and Ian Christie, eds., The Film Factory: Russian and Soviet Cinema in Documents (London : Routledge, 1994), pp. 89-94.

Sergei Eisenstein, 'The Problem of a Materialist Approach to Form' (1925), in Richard Taylor, ed., S. M. Eisenstein: Selected Writings 1922-34, Selected Works, Vol.1 (London: BFI, 1998), pp. 59-64.

Béla Bálazs, Béla Bálazs: Early Film Theory, Erica Carter, ed.; Rodney Livingstone, trans. (Oxford: Berghahn, 2010), pp. 1-15; 40-45. See also Erica Carter, 'Introduction,' pp. xxiv-xxv.

Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, Hannah Arendt, ed.; Harry Zohn, trans. (New York: Schocken, 1969), pp. 217-251.

Miriam Hansen, 'The Mass Production of the Senses: Classical Cinema as Vernacular Modernism', Modernism/Modernity 6:2 (April 1999), pp. 59-77.

Malcolm Turvey, 'Balázs: Realist or Modernist?', October 115 (2006), pp. 77-87.

Screening

Man with a Movie Camera (Dziga Vertov,1929)

Further screening

Film Eye (Dziga Vertov, 1924)

Three Songs of Lenin (Dziga Vertov, 1934)

The New World (Terence Malick, 2005)

7. Exclusions

Reading

Frank Wilderson, Red, White, Black: Cinema and the Structure of U.S. Antagonisms (Durham, NC: Duke University Press, 2009), pp. 1-32.

Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, NC: Duke University Press, 2004), pp. 1-31.

Meg Wesling, ‘Queer Value’, glq: A Journal of Lesbian and Gay Studies, 18:1 (2012), pp. 107-125.

Hito Steyerl, 'In Defense of the Poor Image', in The Wretched of the Screen (Berlin: Sternberg Press, 2012), 31-45.

Further Reading

Saskia Sassen, Expulsions: Brutality and Complexity in the Global Economy (Cambridge, MA: The Belknap Press of Harvard University Press, 2014)

Colin Dayan, The Law is a White Dog: how legal rituals make and unmake persons (Princeton: Princeton University Press, 2011)

Judith Butler, Bodies That Matter: On the Discursive Limits of Sex (Routledge: 1993), pp. 121-140.

bell hooks, ‘Is Paris Burning?’. In Black Looks: Race and Representation, (Boston: South End Press, 1992) , pp. 145-156.

Eva Cherniavsky, Incorporations: Race, Nation, and the Body Politics of Capital (Minneapolis; London: University of Minnesota Press, 2006), pp. 71-99.

Susan Sontag, ‘Notes on Camp’. In Against Interpretation (New York: Dell Publishing, 1966), pp. 275-292.

Silvia Federici, Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (Oakland, CA; Brooklyn, NY: PM Press; Autonomedia, 2012).

Alyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart, L.A. Rebellion: Creating a New Black Cinema (Oakland: University of California Press, 2015).

Cheryl Harris, 'Whiteness as Property', Harvard Law Review 106:8 (June 1993), pp. 1707-91.

Screening

Several Friends (Charles Burnett, 1969)

Looking for Langston (Isaac Julien, 1989)

Formation (Beyoncé Knowles, Melina Matsoukas, 2016)

Further Screening

Paris is Burning (Jenny Livingston, 1990)

Mariposas en el Andamio (Butterflies on the Scaffold,  Margaret Gilpin and Luis Felipe Bernaza; 1996)

Daughters of the Dust (Julie Dash, 1991)

8. Periodisation

Reading

Fredric Jameson, Postmodernism, Or the Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), pp. 1-54.

Fredric Jameson, ‘Historicism in The Shining’. In Signatures of the Visible (New York and London: Routledge, 1992), pp. 112-134.

Steven Shaviro, Post Cinematic Affect (London: Zero Books, 2010).

Screening

The Shining (Stanley Kubrick, 1980)

[jphelectricals-blog]

Tight squeeze today getting the scaffold up again. Upgrade to the inflatable fridges is coming so an upgrade to the power was needed! #electricians #basingstoke #farnborough #24hr https://www.instagram.com/p/CANZGm9BreC/?igshid=1xoszy3g73x4x

[jaffacat44]

Went to @thevyne_nt with my Dad and Richard last week. It was a bit rainy, but I took my electric wheelchair so could actually get around and look at all the pretty countryside. We also went up the scaffolding round the house to look down on the roof, which was pretty cool @nationaltrust #nationaltrust #thevyne #thevynenationaltrust #thevyneestate #lake #countryside #trees #englishcountryside #englishcountry #blog #blogger #blogging #bloggers #lbloggers #lbloggersuk #basingstoke (at The Vyne - National Trust)

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