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Visions at the Edges of the World
No full text'Visions at the Edges of the World' in The Arctic Circle Assembly 2025
‘Visions at the Edges of the World’ is a curated film programme exploring the Arctic through lenses of endurance, ecological -transformation, geopolitics, and the mythical. The programme features experimental shorts and cinematic essays that confront the complexities of nature and spectral existence in polar regions. Each work invites viewers into liminal worlds where climate, culture, and consciousness converge, transforming Arctic narratives into both a mirror and a portal to alternate perceptions of time, place, and reality
Students as partners, supporting student-led community groups across colleges and beyond
No full textChelsea, Camberwell and Wimbledon benefit from the support of several student groups, these include climate advocates, changemakers, gardening ambassadors & repair ambassadors. The student groups have helped to enhance student voice and place student experience at the heart of positive interventions both in and out of the curriculum. The session will present a number of projects that have been delivered by the students, demonstrating a holistic approach to educational and societal need. We will showcase the methodology used to foster student mattering. Evaluation is conducted by students and staff to ensure that value beyond attendance, conversion and cost is considered
Co-Creation: A Shared Process of Storytelling
No full textDescription
Co-Creation: A Shared Process of Storytelling is a peer-reviewed workshop delivered at the CILECT Congress 2025 at the Universidad de Guadalajara, Mexico. The workshop introduces co-creation as an educational, ethical, and collective process in filmmaking. It draws on Ursula K. Le Guin’s carrier-bag model of fiction, Paulo Freire’s dialogic pedagogy, Donna Haraway’s relational storytelling, David Abram’s phenomenological attention, and Jane Bennett’s work on material agency to situate collaborative animation as a shared inquiry shaped by place, gesture, and relationship.
Participants work outdoors through en-plein-air storyboarding. They observe their immediate environment, respond to one another’s drawings, and build a short visual sequence from a non-human perspective. The method foregrounds collective authorship and low-impact production, emphasising attentiveness, reciprocity, and situated narrative practice. Examples from Seek and Hide (2019), ExEd24 En-Plein-Air (2024), and Anima Mundi: In The Garden – Giggles in the Greenery (2024) demonstrate how shared image-making can support inclusive learning and ecological awareness.
Synopsis
The workshop explores co-creation as a practical method for collaborative storytelling. Participants work on site, drawing and responding to each other without fixed outcomes. Through this process, the workshop examines how narrative emerges through shared attention, environmental context, and collective decision-making. The session concludes with group reflection on authorship, ethics, and the role of the environment in shaping story.
Workshop Specifications
Title: Co-Creation: A Shared Process of Storytelling
Event: CILECT Congress 2025
Theme: Courage, Conviction, and Compassion
Location: Universidad de Guadalajara, Mexico
Date and Time: Tuesday 28 October 2025, 11:00 to 11:45
Session: Workshops 1
Moderator: Barry Dignam
Conference Programme Reference: Workshops 1, 11:00 to 11:45
Video Link: https://vimeo.com/kimnoce/co-creation
Padlet Archive: https://padlet.com/maanimationlcc/co-creation-a-shared-process-of-storytelling-n7at3052ppr3g9uy
Congress Website: https://www.cilectcongress2025.com/
Biography 1 https://www.cilectcongress2025.com/copy-of-dominica-harrison
Biography 2 https://www.cilectcongress2025.com/copy-of-deepanjjan-roy
Workshop Format
Participants:
• observe and storyboard outdoors
• work from a non-human perspective
• respond to one another’s drawings
• upload selected images to Padlet
• reflect collectively on authorship and environment
Themes
Collective authorship
Dialogic and relational storytelling
Ecological and place-based practice
Inclusive pedagogical structures
Shared meaning-making
Purpose and Impact
The workshop tests co-creation as an ethical and pedagogical method within international film education. It contributes to the CILECT community’s ongoing discussion on collaborative learning, ecological approaches to filmmaking, and collective authorship. The session extends UAL’s research into sustainable and participatory animation, feeding into the Animated Environmental Rituals research network.
Biographies
Dominica Harrison is an award-winning interdisciplinary filmmaker and educator based in the UK, specializing in animation direction and illustration. Born in Moscow, she received a traditional art education before moving to the UK. Dominica's graduation film, 'Illusions,' garnered awards at international animation festivals. She contributed to the acclaimed film 'Loving Vincent' (2017) and created notable works such as 'Chado' (2020) and 'Anima Mundi' (2025). Dominica is currently a lecturer at the University of the Arts London (UAL).
www.nicaharrison.com
[email protected]
Kim Noce is an Irish and Italian an immersive maker based in the UK, specializing in animation. She holds an MA in Animation from the NFTS/RCA. Her work has been showcased at over 500 international film festivals and exhibited in art galleries worldwide. Kim has collaborated with prominent clients, including the BBC, Channel 4, TATE, National Portrait Gallery, and the Barbican. Notable films include Love-in-Idleness (2016), and Cities of Ladies (2022). She currently serves as the Course Leader for MA Animation at the University of the Arts London (UAL).
www.kimnoce.com
[email protected]
Additional Information
CILECT, the Centre International de Liaison des Écoles de Cinéma et de Télévision, is the global association of film and media schools. It includes more than 180 institutions worldwide and supports collaboration, research, and dialogue across film and moving-image education. The CILECT Congress brings together educators, researchers, and practitioners to share approaches to teaching filmmaking, with a focus on ethical, cultural, and artistic dimensions.
The 2025 Congress, held in Guadalajara, explored the theme Courage, Conviction, and Compassion and featured keynote lectures, conference papers, workshops, and committee meetings across global regions.
Workshop programme link: https://www.cilectcongress2025.com/schedule-
Peter Fuller: In Search of the Mainstream
No full textEssay on the writer and critic, Peter Fuller, and his work on magazines in the 1970s and 80s.
Part of the 'One Object' series, commissioned by the British Art Studies Journal
here and not here
No full textA film diary, in 15 short dispatches, from a place that both does and does not exist - a state in waiting, a geography beyond, but permanently besieged by, conflict, the sites of pressured being and the willed spaces of dream, desire, imagination and resistance. Filmed in the Occupied West Bank and Occupied Golan Heights as part of the A.M. Qattan Foundation's 'Ways of Traveling' Residency 2020 - 2023 (inspired by the commitment of writer John Berger), here and not here marks the outcome of multiple creative collaborations and conversations. It seeks a poetics of expression that acknowledges the perennial challenges of Occupation while refusing the imposed, pejorative, partial and reductive mediatised definitions of a people under constant and escalating oppressions. Charting encounter - with and between people and place and the more than human - here and not here celebrates not the 'cruel optimism' of a false hope but rather celebrates the lived experience of a profoundly precious yet always precarious 'everyday life'.
The film premiered at the Gaza Biennial Istanbul, in 'A Cloud in My Hand' at Depot, plus a talk with Andrea Luka Zimmerman after the screening.
here and not here is distributed by LUX Artists Moving Image, London
Explicating the inexplicable: Post-rationalization as a sensemaking strategy for self-regulated learning in design
No full textReflective practice is understood as a key element of art and design pedagogy, with Donald Schön’s ideas considered seminal. While Schön’s concept of ‘reflection-on-action’ is widely respected, the related concept of post-rationalization has received scant attention and is often viewed as disingenuous. This article draws on research from management and organization studies and pedagogic theory to explore the value of looking back and reasoning after the fact in design. It discusses how this can support ‘self-regulated learning’, particularly for students who rely on intuition. The article examines different forms of knowledge (tacit, implicit and explicit) and how they influence students’ ability to explain their creative decisions. It considers how seemingly inexplicable creative choices can be validated in academic settings. Various models of reflection are compared, including pre-active (before action), inter-active (in real-time) and retro-active (after action). The article concludes with practical strategies to help educators foster reflective reasoning within the classroom
The Protagonist
No full text"On this 25th anniversary of the incorporation and trademarking of the Belmacz name comes The Protagonist, a refractive group show – the exhibitionary embodiment of what the composite word alludes to. (‘Bel’ from de Maupassant’s Bel Ami, ‘ma’ an abbreviation of the Latin maximus, and the letter combination of ‘cz’ found in Slavic languages). This show is a response as well as a reference to the prior The Conformist, (co-curated with Paul Kindersley, 23 February – 16 April 2016). The Protagonist refractures glints from our past to the now: it is a space to live, perhaps also an agora. All material sensibilities are allowed in, all visitors are hosted, all options are open. The Protagonist transforms over its three-month duration, creating transitioning scenes, tableaus and clashes, amplifying the voices of our co-collaborators, constructing reverberations. Like the facets and reflections of the talismans and gems produced in-house, this exhibition is layered, evocative and celebratory.
Our protagonists are: Carla Åhlander, Jonathan Baldock, Isaac Benigson, Tim Berresheim, Aaron Amar Bhamra, James Lee Byars, Toby Christian, Than Hussein Clark, Coco Crampton, Frederika Dalwood, Michela de Mattei, Dial Records, Magdalena Drwiega, Erté, Francesca Flora, Jean-Claude Freymond-Guth (SAALHOF 1123), Florian Genzken, John Giorno, Duncant Grant, Johanna Magdalena Guggenberger, Paul Housley, Steph Huang, Ja Jess, Paul Kindersley, Claudia Kugler, Alastair Kwan, David Lieske, Camilla Løw, Agata Madejska, Mira Mann, Mara dei Boschi, Andrea Marcellier, Hanna Mattes, Elisabeth Molin, Laura Ní Fhlaibhín, Lydia Ourahmane, Paint it Black, Simon Popper, Postcard Teas, Eleni Poulou, Morten Skrøder Lund, Ettore Sottsass, Joel Tomlin, Lina Viste Grønli, Charlott Weise, Gernot Wieland, Rain Wu, Abbas Zahedi, and many more to be announced.
Demonstrating programming concepts with non-programming objects
No full textI have delivered a well-received presentation on programming for non-programmers that cover fundamentals to make a first game at Independent Game Developers Association London Chapter event hosted at London South Bank University
The Space of Thirdness: Intermediating performative treatments in artists’ moving image
No full textIn this chapter, I focus on how the screen in contemporary artists’ moving image might function as an intermediate space that performatively treats divisive social issues such as sexism, racism and ecological damage. Focusing on Rehana Zaman’s Sharla Shabana Sojourner Selena, 2016, and Jeamin Cha’s Sound Garden, 2019, I explore how both films differently engender such an intermediate space in which the oppositional conflicts that arise from said social issues can be played with rather than reactively defended against. I argue that such performativity has the potential to unhinge psychic life from what feminist relational psychoanalyst Jessica Benjamin calls ‘the dangers of complementarity’ which involve the either/or positionalities of asserting power over another or succumbing to the power of the other. To bypass this double bind, Benjamin developed the concept of ‘thirdness’, which I use as a metaphor to think through the performative treatments proffered in my two case studies