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This paper seeks to address the question: should the world's top universities be led by top researchers, and are they?

The lifetime citations are counted by hand of the leaders of the world's top 100 universities identified in a global university ranking. These numbers are then normalised by adjusting for the different citation conventions across academic disciplines. Two statistical measures are used – Pearson's correlation coefficient and Spearman's ρ.

This study documents a positive correlation between the lifetime citations of a university's president and the position of that university in the global ranking. Better universities are run by better researchers. The results are not driven by outliers. That the top universities in the world – who have the widest choice of candidates – systematically appoint top researchers as their vice chancellors and presidents seems important to understand. This paper also shows that the pattern of presidents' life‐time citations follows a version of Lotka's power law.

There are two main areas of contribution. First, this paper attempts to use bibliometric data to address a performance‐related question of a type not seen before (to the author's knowledge). Second, despite the importance of research to research universities – as described in many mission‐statements – no studies currently exist that ask whether it matters if the head of a research university is himself or herself a committed researcher. Given the importance of universities in the world, and the difficulty that many have in appointing leaders, this question seems pertinent.

Studies on the socio-technical relations between bodies and self-tracking apps have become more relevant as the number of digital solutions for monitoring our bodies are increasing and becoming even more embedded in our everyday lives. While a strong body of literature within the fields of self-tracking and the quantified self has evolved during the recent years, the author suggests it is time we (once again) start paying attention to the specific bodies in question when we look into the quantification of bodies, particularly about the question as to whose bodies are we talking about when we say, ‘quantified bodies’. The author also proposes that, when discussing the quantification of bodies, we take interest in the bodies designing, producing, and guiding the logic behind the algorithms embedded in the technological solutions in question. By suggesting this focus on bodies as knowledge producing, the author draws from a feminist perspective of situated knowledges (Haraway 1988; Harding, 1986, 2004) with a particular interest in knowledge production and the understanding of bodies as active, epistemological objects. Feminist theory of science replaces, so to speak, the idea of a universal human identity with a knowing subject who can occupy many different positions – in co-creative and transforming constellations. Following this line of thought, all kinds of knowledge production must be bodily anchored and situated. However, knowledge production always takes place in relation to or with something/someone else/other. As explained by philosopher Rosi Braidotti ‘[t]he post-human knowing subject has to be understood as a relational embodied and embedded, affective and accountable entity and not only as a transcendental consciousness’ (Braidotti, 2018, p. 1). Thus, the bodies in this chapter are the bodies who menstruate. The author wishes to discuss a particular socio-technical relation between smartphone applications (apps) to track and monitor the female cycle; period-apps, and the menstruating bodies engaging with these apps. Building on early feminist thoughts from the science and technology studies (STS), the author seeks to move beyond the algorithmic quantification of bodies to study the network of knowledge production formed by bodies, materialities, technology and history with all its reminiscence of stigma and taboo surrounding these leaking bodies (Shildrich, 1999). These inquiries are not only theoretical accounts but are also rooted in empirical soil. Based on a feminist ethnography of Danish women’s everyday engagement with period-apps, the female developers from the Femtech-industry and the women-only groups within the quantified self-movement, the author aims to provide a broad perspective on what the author defines as the gendered data body. The author argues for a feminist approach to better understand the socio-technical relations and the socio-cultural discourses the menstruating body is situated in, as well as to better understand the unique relation between knowledge production and technology as being constitutional for the gendered data body.

Folk metal is an immensely varied genre but an interest in the past in general, and the remote barbarian past, in particular, is a universal and defining characteristic. Performers evoke history in a number of ways, including musical sound, visual imagery, and lyrical subject matter, but the most emphatic tactic adopted (albeit by a minority of bands) is by the use of lyrics in dead languages (defined as those with no speakers for whom they are a mother tongue). Europe has many of these, of which much the most prestigious is Latin; folk metal bands, however, tend to use one or other of the vernacular languages, invariably that spoken during the earliest and formative period of their own national group. This practice of singing in dead languages originated in 1994 with the Norwegian band Enslaved, in a period in which extreme metal bands were self-consciously rejecting English – pop music's dominant tongue – in an attempt to distance themselves from what they saw as inauthentic neo-liberal Anglo-American cultural hegemony. From its beginnings, it had strongly patriotic and nationalistic overtones but it is argued that the ancient texts from which lyrics are taken also acquire a quasi-religious character for listeners, not least because of the occulted and numinous air imparted by the opaqueness of the language. The acts that have most often composed lyrics in dead languages have been Scandinavian – singing in Old Norse – but the most popular act that currently engages in it is Eluveitie, from Switzerland, who, whilst mostly performing in modern English, include at least one song on every album in reconstructed ‘Gaulish’. This linguistic strategy is at once a means of locating Eluveitie within the ‘code’ of folk metal, a method of acquiring the sub-cultural capital associated with ‘authenticity’, and an opportunity to align themselves with internationally-familiar and popular ‘Celtic’ identity and sensibilities.

The purpose of this paper is to apply a self‐reflexive interpretive method of writing as a method of analysis of findings from a critical research based on videography documenting the relationship between ethnicity, consumption, and place.

An innovative theoretical approach employed is interpretativist ethnography inspired by creative writing. This methodological approach allows the researcher to move beyond the rigidness of academic discourse and consequently enables a more intimate connection with the object of research.

The main outcome of this paper is realization that the presence of the researcher and her own autobiography affects the results of research and that articulation as much as execution of research is always subjective. A significant implication of this kind of approach is uncertainty and unreliability which questions the positivist objectivism dominating in both consumer studies and marketing. A subsequent limitation is a free reading which evades possibility of definite conclusions.

By providing a film and a commentary to it in one publication, this paper overcomes the traditional separation between the visual and the textual and contributes to the multisensory model of academic practice. It is particularly important for ethnography and visual studies where the application of the senses has both a theoretical and a practical value.

The purpose of this paper is to consider the dynamics of submitting arts-based research in a climate that is dominated, in the UK, by the social sciences.

It begins by taking a view on arts-based research, considering mainly Eisner and Dewey but exploring the possibilities of other forms such as baroque research. It goes on to look at some examples of arts-based research that has been carried out, funded by the Arts and Humanities Research Council. The authors conclude by saying that interdisciplinary research, while being encouraged by research councils, is also made more difficult by these same research councils’ funding structures.

The authors consider that this has an effect on defining what educational research is and could be. The authors argue that this is important not only in relation to the range of disciplinary perspectives that can be drawn upon within educational settings, for example, the need to engage with disciplines such as English, History, Philosophy, Music and Fine Art, but also in relation to methodological understandings of how research should be conducted within educational settings.

The research studies are arts based but with an original educational orientation.