By Stuart Hall et al
A set of the pioneering paintings from The Centre for modern Cultural experiences.
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Extra info for Culture, Media, Language: Working Papers in Cultural Studies, 1972-79 (Cultural Studies Birmingham)
The size of the seminar became inhibiting for new members, and it depended too much on prior knowledge, privileged access to the discourse and a false search for abstraction at a rarified level. A major innovation was introduced at this point, which largely set the framework of Centre practice up to the present. Work was divided between different research groups, each organized around a particular theme or field. These groupings first arose as a drawing together, in each area, of individual thesis topics.
He has opened up again the problem of ‘representation’ itself, on which so many theories of ideology and symbolic representation have been based. We have deliberately not attempted here to resume the entire theoretical spectrum of the Centre’s recent work in this period. We have referenced some major turning-points through a selection of representative instances. This abbreviated account should not be taken as marking a steady and unified ‘long march’ through the theoretical continents. Different theorists and positions outlined above have been more or less influential in different areas of the Centre’s work.
Of course, the project has offered no guarantees of success. We too operate within the existing division of intellectual labour, which has a merciless logic and has imposed itself on the Centre as much as elsewhere. 107 It is really exceedingly difficult both to do serious intellectual work in an advanced, interdisciplinary area and to write and produce in an immediately accessible way. This is not an excuse for the retreat into private languages. The Centre has been criticized more than once for the difficulty and obscurity of its language—and the criticism is a valid one (even if it is produced with what sometimes appears to be a sort of triumphal glee).