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In this chapter I explore the ethical challenge of preserving participant anonymity when using visual methods in ethnographic research. Referring to my own ethnographic study in post-conflict Northern Ireland, I explore the how social, cultural and political contexts may accentuate the need to preserve anonymity. discuss my rationale for opting not to use photographs in this context and put forward the case for using participant-produced drawings as an alternative to photographs. Drawings accomplish similar rich benefits as photographs but may ameliorate the ethical challenges inherent in photographic work of maintaining participant anonymity

The M. H. Ross Papers contain information pertaining to labor, politics, social issues of the twentieth century, coal mining and its resulting lifestyle, as well as photographs and audio materials. The collection is made up of five different accessions; L2001-05, which is contained in boxes one through 104, L2002-09 in boxes 106 through 120, L2006-16 in boxes 105 and 120, L2001-01 in boxes 120-121, and L2012-20 in boxes 122-125. The campaign materials consist of items from the 1940 and 1948 political campaigns in which Ross participated. These items include campaign cards, posters, speech transcripts, news clippings, rally materials, letters to voters, and fliers. Organizing and arbitration materials covers labor organizing events from "Operation Dixie" in Georgia, the furniture workers in North Carolina, and the Mine-Mill workers in the Western United States. Organizing materials include fliers, correspondence, news articles, radio transcripts, and some related photos. Arbitration files consist of agreements, decisions, and agreement booklets. The social and political research files cover a wide time period (1930's to the late 1970's/early 1980's). The topics include mainly the Ku Klux Klan, racism, Communism, Red Scare, red baiting, United States history, and literature. These files consist mostly of news and journal articles. Ross interacted with coal miners while doing work for the United Mine Workers Association (UMWA) and while working at the Fairmont Clinic in West Virginia. Included in these related files are books, news articles, journals, UMWA reports, and coal miner oral histories conducted by Ross. Tying in to all of the activities Ross participated in during his life were his research and manuscript files. He wrote numerous newspaper and journal articles on history and labor. Later, as he worked for the UMWA and at the Fairmont Clinic, he wrote more in-depth articles about coal miners, their lifestyle, and medical problems they faced (while the Southern Labor Archives has many of Ross's coal mining and lifestyle articles, it does not have any of his medical articles). Along with these articles are the research files Ross collected to write them, which consist of notes, books, and newspaper and journal articles. In additional to his professional career, Ross was adamant about documenting his and his wife's family history in the oral history format. Of particular interest are the recordings of his interviews with his wife's family - they were workers, musicians, and singers of labor and folk songs. Finally, in this collection are a number of photographs and slides, which include images of organizing, coal mining (from the late 19th through 20th centuries), and Appalachia. Of note is a small photo album from the 1930s which contains images from the Summer School for Workers, and more labor organizing. A few audio items are available as well, such as Ross political speeches and an oral history in which Ross was interviewed by his daughter, Jane Ross Davis in 1986. All photographic and audio-visual materials are at the end of their respective series. ; Myron Howard "Mike" Ross was born November 9, 1919 in New York City. He dropped out of school when he was seventeen and moved to Texas, where he worked on a farm. From 1936 until 1939, Ross worked in a bakery in North Carolina. In the summer of 1938, he attended the Southern School for Workers in Asheville, North Carolina. During the fall of 1938, Ross would attend the first Southern Conference on Human Welfare in Birmingham, Alabama. He would attend this conference again in 1940 in Chattanooga, Tennessee. From 1939 to 1940, Ross worked for the United Mine Workers Non-Partisan League in North Carolina, working under John L. Lewis. He was hired as a union organizer by the United Mine Workers of America, and sent to Saltville, Virginia and Rockwood, Tennessee. In 1940, Ross ran for a seat on city council on the People's Platform in Charlotte, North Carolina. During this time, he also married Anne "Buddie" West of Kennesaw, Georgia. From 1941 until 1945, Ross served as an infantryman for the United States Army. He sustained injuries near the Battle of the Bulge in the winter of 1944. From 1945 until 1949, Ross worked for the International Union of Mine, Mill and Smelter Workers, then part of the Congress of Industrial Organizations (CIO), as a union organizer. He was sent to Macon, Georgia, Savannah, Georgia and to Winston-Salem, North Carolina, where he worked with the United Furniture Workers Union. He began handling arbitration for the unions. In 1948, Ross ran for United States Congress on the Progressive Party ticket in North Carolina. He also served as the secretary for the North Carolina Progressive Party. Ross attended the University of North Carolina law school from 1949 to 1952. He graduated with honors but was denied the bar on the grounds of "character." From 1952 until 1955, he worked for the Mine, Mill and Smelter Workers as a union organizer, first in New Mexico (potash mines) and then in Arizona (copper mines). From 1955 to 1957, Ross attended the Columbia University School of Public Health. He worked for the United Mine Workers of America Welfare and Retirement Fund from 1957 to 1958, where he represented the union in expenditure of health care for mining workers. By 1958, Ross began plans for what would become the Fairmont Clinic, a prepaid group practice in Fairmont, West Virginia, which had the mission of providing high quality medical care for miners and their families. From 1958 until 1978, Ross served as administrator of the Fairmont Clinic. As a result of this work, Ross began researching coal mining, especially coal mining lifestyle, heritage and history of coal mining and disasters. He would interview over one hundred miners (coal miners). Eventually, Ross began writing a manuscript about the history of coal mining. Working for the Rural Practice Program of the University of North Carolina from 1980 until 1987, Ross taught in the medical school. M. H. Ross died on January 31, 1987 in Chapel Hill, North Carolina. ; Digitization of the M. H. Ross Papers was funded by the National Historical Publications and Records Commission.

In order to know where we are going it's often useful to know where we have been. Accordingly, Dr David Farmer draws on some historical examples to illustrate the growth of procurement as an essential component of industrial development.

Abstract
This article argues for the importance of developing queer feminist disability ethics in ways that push beyond the conventional canon, acknowledging the violence present in many traditional texts and their failures to do justice to lived disability experience. Critiquing a famous debate in the Babylonian Talmud, Ketubot 17a, in which Hillel and Shammai debate the permissibility of telling a lie in order to praise the beauty of a disabled bride at her wedding, the author argues for a Jewish disability ethics that engages secular disability arts. Examining the artistry of queer disabled dancer Claire Cunningham, the essay draws out the embodied ethical insights expressed through disability arts and argues that Cunningham's work offers a more compelling answer to the Talmud's question—in her claim that love lodges in the tangible acts of paying attention to another.

This article expands our current knowledge about ministerial selection in coalition governments and analyses why ministerial candidates succeed in acquiring a cabinet position after general elections. It argues that political parties bargain over potential office-holders during government-formation processes, selecting future cabinet ministers from an emerging bargaining pool'. The article draws upon a new dataset comprising all ministrable candidates discussed by political parties during eight government-formation processes in Germany between 1983 and 2009. The conditional logit regression analysis reveals that temporal dynamics, such as the day she enters the pool, have a significant effect on her success in achieving a cabinet position. Other determinants of ministerial selection discussed in the existing literature, such as party and parliamentary expertise, are less relevant for achieving ministerial office. The article concludes that scholarship on ministerial selection requires a stronger emphasis for its endogenous nature in government-formation as well as the relevance of temporal dynamics in such processes.

Over the latter half of the twentieth century the proliferation of images has affected deeply the way we approach and engage with our surroundings, contributing to an increasingly mediated experience of reality. We 'place' ourselves in this world not only through real but also through simulated spaces and representations. In the emergence of architectural space as a space of congested representations and the privileging of the image as simulation rather than representation, architectural drawing conventions are faced with the inadequacy of their codes in articulating new perceptions of spaces. Most importantly however, what is challenged is the operation of drawing as not image or object, but as a distinct projective spatiality that mediates between the tangible reality of figuration and the projected spatiality of speculation. The increasing shift from physical experience to visually consumed impressions¬¬ of spaces can be traced back to the explorations and technological advancements of early modernity that brought to the fore the interrelation between space and time. In this context it can be considered as derived not by the digital mediations and manifestations of spaces but rather by a wider visual culture which can be, through Gilles Deleuze's writing on cinema (Deleuze, 1983, 1985), as well as Jonathan Beller's concept of the 'Cinematic Mode of Production' considered as 'cinematic' (Beller, 2002). As both Deleuze and Beller suggest, the cinematic does not simply entail the production of imagery but also the consequent production of consciousness and perception as ideology, challenging thus the interrelation between notions of reality, language and virtuality. This paper will look into the ways that the effects of virtuality that emerge in, and are operative for, the performativity of drawing as a 'space of representation' (Dorrian and Hawker, 2002) are contested by the effects of virtuality produced out of the cinematic, as the former seem to facilitate while the latter seem to bypass the production of spatial concepts. In light of the range of representational, recording, image and form producing possibilities offered by digital media – described by Beller as successors of the cinematic – this paper considers the current 'digital turn' of architecture as the architectural counterpart of the representational experimentations of modernist artists. This turn is situated in relation to the Cartographic and Geographic turns of architecture and architectural representation, as introduced respectively by Mark Dorrian (2005) and David Gissen (2008). In these latter turns, the pressure initially exerted upon architectural practice by the so-called crisis of representation, drawn out of the philosophical and political debates of the 1960s (Tschumi, 1996) is considered through opposing strategies of representation and simulation. The chapter finally argues that what is at stake in the digital not-yet-turn but challenge of architecture, is neither the skeuomorphic imitation of drawing's analogue techniques, nor the production of iconic imagery, but rather the 'domestication' (Ingraham, 1998) of the medium as a new field of performance for architectural thinking-through-drawing through the (re)consideration of convention as a ground capable of facilitating both semiotic integrity and performance.