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                  <text>Troops Out Movement</text>
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                  <text>The Troops Out Movement  was formed in West London in 1973 by Irish solidarity activists. A campaigning organisation committed to bringing an end to British rule in the North of Ireland,  Troops Out Movement has two aims: British Troops Out of Ireland and Self-determination for the Irish People as a Whole.</text>
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              <text>Sara Chambers</text>
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              <text>part of Trade Union Campaign Pack</text>
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                <text>What is a strip search?</text>
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                <text>27.10.2022</text>
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                  <text>Dissenting Ephemera - Catherine Pozzo di Borgo</text>
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                  <text>A small collection of materials mainly relating to the English situationists, ‘King Mob’, and the LSE occupation in early 1969. The collection includes original prints of King Mob journals, King Mob posters from the LSE occupation, copies of various situationist and anarchist periodicals from the late 1960s, a brochure for the Anti-University, press clippings and internal documents from the student movement including a draft constitution of the RSSF. Alongside a paper collection, Catherine has also contributed a number of photographs of situationist posters. The collection also includes a small number of press clippings and fliers from the Jake Prescott and Ian Purdie defence group.</text>
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              <text>Catherine Pozzo di Borgo</text>
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              <text>Jacob Bard-Rosenberg</text>
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                <text>Flyer</text>
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                <text>U.L.U.: Workers And Students Unite For Action</text>
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                  <text>The Wages for Housework campaign was launched in Padova at the International Feminist Conference of July 1972. Within two years it was holding its own international conference in Brooklyn, New York and issued a position statement: “Wages for Housework is the feminist perspective and therefore the class perspective.” Opening up both an exploration of the wage and presciently raising the issue of reproductive and affective labour, the Wages for Housework campaign maintained its momentum for the rest of the decade. The box of materials held by MayDay Rooms and kindly donated by Silvia Federici relate to the New York Wages For Housework collective and contain publications, posters, flyers, photographs, press cuttings and organisational documents. They span the period from the Padova Conference to the publication, in 1981, of the journal Tap Dance.</text>
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              <text>Silvia Federici</text>
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                <text>2013-01-27</text>
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                <text>Radical America</text>
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                  <text>In the late spring of 1969 four members of the teaching staff in the Sculpture Department at St. Martins School of Art in London began work on a project for students who would be entering the new three-year degree programme in the autumn. Their unique pedagogic experiment, which came to be known as the ‘A’ Course, was an extraordinary and inventive teaching programme that had a significant impact on what was taking place in British art education at the time. Because of its highly unorthodox nature the ‘A’ Course was widely known and largely misunderstood; it would not be unfair to say it was notorious. As part of a process of re-activating the past and involving original participants, MayDay Rooms has been in contact with former ‘A’ Course tutors/staff Garth Evans, Gareth Jones and Peter Kardia and students who have kindly participated, donated and loaned material. This ongoing ‘A’ Course Collection also opens onto other, less well known avenues taken by ‘A’ Course students in the 1970s including the Manydeed Group and the Poster Film Collective.&#13;
&#13;
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              <text>Peter Venn (Anthony Davies)</text>
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              <text> * Folder, Instructions, Photographs
* "...also associated with 'table' sculpture..." as noted by Peter Venn    8/23/2014
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                <text>2015-03-18</text>
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                  <text>In the late spring of 1969 four members of the teaching staff in the Sculpture Department at St. Martins School of Art in London began work on a project for students who would be entering the new three-year degree programme in the autumn. Their unique pedagogic experiment, which came to be known as the ‘A’ Course, was an extraordinary and inventive teaching programme that had a significant impact on what was taking place in British art education at the time. Because of its highly unorthodox nature the ‘A’ Course was widely known and largely misunderstood; it would not be unfair to say it was notorious. As part of a process of re-activating the past and involving original participants, MayDay Rooms has been in contact with former ‘A’ Course tutors/staff Garth Evans, Gareth Jones and Peter Kardia and students who have kindly participated, donated and loaned material. This ongoing ‘A’ Course Collection also opens onto other, less well known avenues taken by ‘A’ Course students in the 1970s including the Manydeed Group and the Poster Film Collective.&#13;
&#13;
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&#13;
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&#13;
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&#13;
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              <text>Eddy Hemsley conceived and was the primary organiser of this extraordinary event  a truly epic performance piece. I refused to participate as a contestant when Eddy approached me. He promptly said that in that case I should be the Tournament Judge and he instructed me to find out how to properly point score a boxing match  something I duly did, trying my best on the night to judge each fight objectively. As noted by Andrew Darley, 7/1/2015</text>
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&#13;
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            <description>A name given to the resource</description>
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                <text>['A' Course Contextual Studies Documents - Futurism]</text>
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>'A' Course</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>In the late spring of 1969 four members of the teaching staff in the Sculpture Department at St. Martins School of Art in London began work on a project for students who would be entering the new three-year degree programme in the autumn. Their unique pedagogic experiment, which came to be known as the ‘A’ Course, was an extraordinary and inventive teaching programme that had a significant impact on what was taking place in British art education at the time. Because of its highly unorthodox nature the ‘A’ Course was widely known and largely misunderstood; it would not be unfair to say it was notorious. As part of a process of re-activating the past and involving original participants, MayDay Rooms has been in contact with former ‘A’ Course tutors/staff Garth Evans, Gareth Jones and Peter Kardia and students who have kindly participated, donated and loaned material. This ongoing ‘A’ Course Collection also opens onto other, less well known avenues taken by ‘A’ Course students in the 1970s including the Manydeed Group and the Poster Film Collective.&#13;
&#13;
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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          <name>Depositor</name>
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              <text>Andrew Darley</text>
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          <name>Location</name>
          <description>The location of the interview</description>
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              <text>Archive Storage Room</text>
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          <name>Catalogued by</name>
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              <text>RL</text>
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          <name>Comments</name>
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              <text>These notes were given to us at the start of each year by way of describing the content of the seminar electives on offer and in order for us to choose which we wanted to opt for. History of Art was a separate Department and provided contextual studies courses for all of the Practical Subject fields within the School. I can't recall every course I took. But those that stay in my mind are the film studies courses taken in Year's one and two, first with Raymond Durgnat and then with Peter Wollen; the Literature seminars, again undertaken in both the First and Second year with Sandra Stevens; the Mass Media seminar led by Andrew Higgins in Year two, and seminars led by David Medella, Andrew Causey and Edward Taney. For me, Contextual Studies were a really important complement to what was happening in the 'A' Course itself and, on occasion, they'd take precedence in terms of interest and commitment. As noted by Andrew Darley, 7/1/2015.</text>
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          <name>UID</name>
          <description>Unique ID</description>
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              <text>1388</text>
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              <text>https://archive.leftove.rs/documents/grid/created/group=='A'_Course</text>
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        <name>Dublin Core</name>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="5487">
                <text>Notes</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="5489">
                <text>Unknown</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="57">
            <name>Date Accepted</name>
            <description>Date of acceptance of the resource. Examples of resources to which a Date Accepted may be relevant are a thesis (accepted by a university department) or an article (accepted by a journal).</description>
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              <elementText elementTextId="5490">
                <text>2015-03-18</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="5493">
                <text>AC/AD/1#47</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5494">
                <text>['A' Course Contextual Studies Documents - Literature Elective  Practical Criticism]</text>
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