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Sixty Stories, Six Thousand Miles Apart
No full textThe chapter records a series of fieldwork notes created during a period of research for an ongoing collaborative project called "Zawawa: The Sound of Sugarcane in the Wind" which responds to the multiple aftermaths of the Battle of Okinawa and the subsequent occupations of the archipelago by US military.
The fieldnotes encompass interviews, audio recording activities, engagements with archival materials, audio editing, film-making and dissemination strategies. The span of reported activities is intended to problematise the anthropological record in terms of its assumed contemporaneity and to explore how the field projects a broad reach, incorporating not just the traditional study site but wider research contexts as well as locations of artistic production and dissemination (such as the studio, the edit suite, the festival), and places of transit and family life.
Each dated note is exactly 100 words in length, an artificial constraint designed to point up the aritifice involved in the fieldwork process, something that connects the chapter to the wider themes of the book "Fieldwork for Future Ecologies: Radical Practiec for Art and Art-based Research"
Joined Up Writers: How can the novel be a vehicle for community participation?
Get PDFThe title of this thesis addresses the Arts and Humanities Research Council’s (AHRC) call for research: “How can literature be thought to be a conversation with community?” (AHRC 2017).
As well as enquiring into the novel as a potential vehicle for community participation, there are two associated questions:
1. What is the role of the writer-facilitator?
2. What is the effect of introducing digital methods to a community writing practice that is traditionally non-digital?
The thesis defines the community novel in the context of the community arts movement in the UK (Owen Kelly 2023, François Matarasso 2021, for example). It argues for it as a culturally democratic form that uses multimodal, accessible and inclusive methods to engage with people who have little or no experience of creative writing. The research uses participatory action research (PAR) to establish the process of making a community novel with volunteers in a rural parish in south Cornwall. Collaborating with local residents, the research has established a replicable model of participation through which people with diverse skills and interests can contribute.
The longest study produced a prototype community novel, Trevow, which is the work of its participants. It was achieved over a period of 18 months, including an extension during the Covid-19 pandemic lockdown of 2020. The thesis includes insights drawn from participation methods that arose when facilitation was unexpectedly forced online. Trevow demonstrates the viability of the community novel as a participatory form, with remediations to the writerfacilitator role, and the blending of traditional and digital methods in production of the novel.
Research into facilitating the making of Trevow has resulted in a model of participation and material for a toolkit to inform remediated practice. This is provided as an indicative outline, to be further developed and disseminated post-doctorate
Visions of Carn Brea: The Labouring-Class Poetry of John Harris (1820-1884)
Get PDFThis thesis is an investigation into the nineteenth-century labouring-class poet, John Harris (1820-1884). Harris was a Cornish miner who managed to educate and raise himself to be a cleric in Falmouth. He published fifteen volumes of poetry during his lifetime, all of which received the attention of various national literary presses. Harris won the Shakespeare tercentenary prize in 1864 and was the first winner from a labouring-class background. Harris has received very little critical attention after his death and this thesis argues that, as a conservative labouring-class poet he is out of fashion. It explores how critical attention has overwhelmingly focused on radical labouring-class poets such as Chartists. This thesis argues however that during his lifetime Harris’s work was, for a time at least, fashionable and attractive to the upper classes because of the politically conservative stances he took and that his politics meant he was able to attract patronage. Harris’s ‘value’ to patrons as a paragon of Victorian religious virtue and industry was an expedient example to his labouring peers. I will argue that Harris is worthy of note not just because of his somewhat unusual politics but also because of the idiosyncratic thematic and formal qualities of his corpus. Harris’s autobiography confirms that his selfpresentation was central in gaining patronage which ranged from individuals with wealth and social standing who sponsored him when his writing was in its infancy to the literary institutions and prominent individuals that provided support to him as he attempted to maintain and develop his literary career. The influence of his patrons on the thematic concerns of Harris’s corpus have caused him to be ignored by literary critics due to its surface level conservatism. A closer examination reveals Harris’s idiosyncratic hybridisation of the conventions of eighteenth-century Romanticism and nineteenthcentury poetics concluding that in an era where metrical schemes were abundant, Harris was a master and innovator of form
When Materials Meet Sound: Discovering the Meaning of Deformable Materials in Musical Interaction
Get PDFResearch on Digital Musical Instruments (DMIs) design highlights that materiality plays an important role in DMI design and musical interaction. However, DMI design research often focuses on technology-oriented factors, with less exploration of the meaning of materials in design practice. In this paper, we explore how DMI designers understand deformable sensor materials and how they use these as a resource for creative aesthetic design. Eleven DMI designers were invited to use a selection of deformable sensor materials to create prototype DMIs with them in a design activity. Three design approaches emerged, determined by how designers perceived and explored sensor materials. We discuss the potential of the methodology for exploring strongly entangled elements, such as material, gesture, and sound, in DMI design. The results contribute to the design practice for DMI designers and to further exploration of material-based design research in Human-Computer Interaction
I Put Their Eyes to Mine and Saw the Sea of War
No full textScreening of STATESCAPE∞ as part of the programme of short films about Ukraine, 'I Put Their Eyes to Mine and Saw the Sea of War', curated by Anna Kryvenko, at Go Short International Short Film Festival, Nijmegen, The Netherlands.
STATESCAPE∞, a short film by Vicki Thornton & Adam J B Walker, takes as its starting point Mezhyhirya, the palatial former home of deposed Ukrainian President Victor Yanukovych, in its myriad physical, imagined, historical, represented, political, virtual, economic and personal forms. Connected through these networks, the site and our encounter with it becomes a lens through which to examine broader questions of inequality, aspiration and care; questions within which we are all fluidly situated
untitled (post, kettle, bunker, line, scout)
No full textSeries of photographs of tea bag structures, negatives developed in tea with corresponding series of tea prints on cartridge paper
Empathy and the Past: Outlining, Erasing, and Colouring In
Get PDFTwo illustrators – Rachel Emily Taylor and Catherine Anyango Grünewald – reflect on how their work builds on empathy in order to interrogate past lives and experiences. Writer Sharon Kivland acts as a respondent to these two contributions
Pazugoo: Demonic Personification of Nuclear Waste
Get PDFDocumentation of Weir's presentation at the 13th SAR International Conference on Artistic Research, Bauhaus University, Weimar, Germany
The Sabotaging Piano: key-to-pitch remapping as a source of new techniques in piano improvisation
Get PDFIn this paper we present the Sabotaging Piano, a prepared electronic piano that alters key-to-pitch correspondence by reassigning adjacent pitches (i.e. one semi-tone higher or lower) to each key. Performers can control how many keys to remap through an expression pedal. If the pedal is not pressed the Sabotaging Piano works as a normal piano. When fully pressed, each key is remapped one semi-tone up or down with equal probability. Each new performance (i.e. when the piano is turned on) triggers a new and unknown remapping pattern, but the specific pattern remains fixed throughout the whole performance. This aims to provide a balance of uncertain but still explorable and learnable behaviour. We invited three professional piano improvisers to rehearse with our piano in order to prepare a final improvisation concert. We aimed to explore how much can be rehearsed or prepared with a piano that will behave somewhat differently for each new performance. We asked pianists to document their rehearsal processes to witness the appearing of strategies or techniques with the Sabotaging Piano. Through analysis of the rehearsals reports and the MIDI data collected in the final concert, here we show that the three pianists not only developed different techniques with the Sabotaging Piano, but they also leveraged the particularities of it to use them as creative resources
Life Is More Important Than Art
Get PDFA Gilane Tawadros and Janette Parris co-curated exhibition.
This exhibition explores the intersection of art and everyday life and the role of the contemporary art institution at a time of uncertainty and change.
The title takes inspiration from African-American writer and novelist James Baldwin, who proposed that life is more important than art … that is why art is important. At a time when the cost of living crisis is causing severe financial hardship and the after-effects of the pandemic are still being felt, we consider the role of art and the art institution in everyday life. What importance can we attach to art alongside more pressing concerns