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Exploring women's role in creative industries through collaborative action research using tabletop role-playing games
No full textThis paper examines the use of tabletop role-playing games (TRPGs) as a collaborative action research (CAR) tool to investigate the role of women in the creative industries of the North East region in the UK. TRPGs offer an interactive and structured platform for participants to engage in scenario-based simulations, problem-solving activities, and decision-making exercises. Through immersive experiences, TRPGs enable participants to gain insights into the challenges, constraints, and dynamics of the creative industry. The study presents the application of TRPGs in a workshop called “Agents of Equality and Empowerment”, involving professionals, freelancers, students, academics, and NGO workers from the creative sectors. By assuming the roles of women creatives in TRPG scenarios, participants investigated issues like brain drain, motherhood, childcare, networking, connections, pay gap, and lack of role models. The workshop aimed to identify necessary changes, understand priorities, and explore the subjective experiences of women creatives in the North East. Findings derived from surveys, qualitative analysis of in-game interactions, observations, and reflections shed light on practical aspects and emotional dimensions of women's involvement in the creative industries. This understanding facilitates a deeper exploration of barriers, biases, societal expectations, and cultural influences that shape their professional journeys
The Independent Group: working-class culture and collage
Get PDFThe history and work of the Independent Group, this important collective of creative practitioners which met from 1952 to 1955, has recently attracted unprecedented levels of attention. However, within the fields of architectural, art and design history, the issue of social class is largely absent in recent work and oversimplified
in twentieth-century accounts. This is despite the recent increase in class analysis being applied to the British creative and university sectors. Using Potvin and Marchand’s methodology of agency and the work on social class by Bev Skeggs as well as my own background, the article brings more specificity to the question of the working-class avant-garde and the Independent Group, using
new research into the backgrounds of its members. Public funding enabled many who would not traditionally have benefitted from tertiary education to undertake full-time study, and this class dynamic made a difference to the post-war cultural
landscape in the United Kingdom. The power of working-class agency within and against pre-existing elite structures is a key theme of the article. Working-class culture is a vital, yet hitherto marginalized, component of the Independent Group project. The article asks why references to social class are notably absent from
accounts of post-war British art and design
In the Abundance of Thy Lovingkindness
No full text4 minute composition. Participated as a composer and bass player
A Programme for Women achieving Excellence in Research (PoWER): theoretically informed intervention design and evaluation
Get PDFAcademics in Higher Education are often expected both to teach and to research; this is a particular challenge for women both structurally and individually. Initiatives to address structural issues include AdvanceHE. Here, we focus on individual issues and report on the Programme for Women Achieving Excellence in Research, a theory-based intervention. Barriers to success were assessed and course content tailored accordingly. Evaluation demonstrated that barriers were reduced and that confidence increased. Although the barriers are both individual and contextual, our rigorous approach allows international application through intervention modification without loss of fidelity. This offers a new approach for academic developers to enable female researchers
'To picture is not to remember'
No full textThis paper will seek to unpack the paradox of autobiography, inherent in the works of the late French photographer Hervé Guibert.
Guibert’s photography is akin to a power of powerlessness- he photographed what was not there. Distinctly autobiographical, familial photographs, still lives and portraiture exist ‘only as latent forms, that in turn create truths that lie dormant in the photograph, invisible to the eye, but central to the image’ (Guibert 1991). To arrest one’s past through the photograph, would be no more than to become trapped in mere representation says Bergson, whilst on the other hand Merleau-Ponty suggests, to look upon an object is to inhabit it.
This precarity within Guibert’s’ modest works, is akin to this paradoxical, if Hegelian event of something and nothing. By this we mean an irretrievable if painful actuality Bergson called pure memory that is the photographing self. Alongside that sublated state through the making of the image/s as indicative of working memory, in which recollection is symptomatic of an actuality of the virtual other. In contrast to that sense of control autobiography can denote, Guibert echoes loss and absence of the photographing self, made by the attempt to retain it by the photographed other.
Levinas stated memory makes the past available to us as a material for our future (Levinas:2007). This means we traverse a past, present, future course, indicative of Guibert’s intentioned aims in making his photographs. Alongside this, a future, present, past trajectory, that corresponds to the will of consciousness to express ourselves, because our consciousness is always ahead of us. Levinas called this the living contradiction. In Guibert, we oscillate between these realms of becoming in those places where it has departed, indeed, for Bergson that ‘realism fails to draw from reality the immediate consciousness which we have of it’. This paper will highlight that painful joy autobiography embodies in the work of Guibert, as deeply phenomenological events. In doing so, revealing their paradox, not as visual coalitions of residual fragments of the past inhabiting the present, but instead that incessant weaving and un-weaving of ourselves’ (2015:68
Bodies becoming buildings: The (An) anatomy of Architecture.
Get PDFA celebration of the collaboration between students and staff in what is the only remaining 1:1 construction project within the BA(Hons) Architecture Programme.
For the exhibition we held a competition to select the five (5) most successful structures built in the 23-24 academic year. These were complimented by a curated photograph display of previous Level 4 ‘wearable architecture’ projects
Navigating digital waves: unveiling entrepreneurial leadership towards digital innovation and sustainable performance in the Chinese IT industry
No full textTeaching to the line: how do visual arts technicians in higher education conceive of their pedagogies?
Get PDFTechnician pedagogies have increased in volume, significance, and sophistication across the higher education sector since the turn of the millennium, particularly in the creative arts, in what can be described as a ‘technical turn’. A mature corpus of literature exists concerning academic teaching, but virtually nothing is known about the learning and teaching activities of technicians. Calls for empirical research from scholars and policymakers have intensified as skills and employability agendas have advanced, and blended roles, such as technical demonstrator/instructor/tutor, have proliferated. Prior to this research, it has been problematic to identify, quantify, or plan for quality assurance or enhancement concerning arts-based technical teaching, meaning that despite increasing reliance on technicians as educators, there is no framework for understanding or developing their pedagogies.
Accordingly, they cannot be optimally managed, deployed, or integrated with the curriculum, and the opportunities and risks associated with their contribution to learning and teaching remain uncertain, colloquial, and unclear.
This thesis responds to this gap in knowledge by exploring how visual arts technicians working in UK higher education conceive of their pedagogies. It examines what they teach, how they teach it, and the philosophical underpinnings and values that inform their approaches to teaching. The methodology used, phenomenography, explores the qualitatively different ways in which a phenomenon may be experienced and seeks maximum variation in sources of evidence. Seven research sites were selected to ensure a diverse range of institutions and characteristics. In total, twenty-three semi-structured interviews were completed, providing a rich basis for insights into the work of visual arts technicians. Additionally, twelve participants consented to be photographed in their teaching spaces. The images do not directly respond to the research questions but contribute to establishing the embodied identity of the participants while also illustrating the study.
Interview data were analysed using phenomenographic techniques to establish categories of description and an ‘outcome space’ that logically structures the five qualitatively distinct ways participants conceived of their pedagogies: Demonstrator, Instructor, Consultant, Collaborator, and Transformer. These conceptions span a continuum from teachercentred/subject-oriented to student-centred/transformation-oriented approaches. These outcomes challenge and disrupt existing frameworks of knowledge within creative arts education, contributing to a fundamental reassessment of how technician pedagogies can be understood and integrated with academic pedagogies and the curriculum. These insights will be of particular use to researchers of practice-based pedagogies, government, policymakers, and HE stakeholders within the creative arts and beyond in adjacent practical fields (e.g., physical sciences, engineering, pharmaceutical, computing, legal, and medicine)
The nature and determinants of user-generated content for dissatisfied customers: evidence from second-hand luxury fashion brands
Get PDFPurpose
We examined the links between user-generated content (UGC), dissatisfied customers and second-hand luxury fashion brands. A central premise of luxury fashion brands is the perceived status and privilege of those who own such items. Despite their marketing logic emphasising exclusivity and rarity, they have broadened their reach by integrating new digital marketing practices that increase access to luxury brand-related information and create opportunities for consumers to purchase products through secondhand sellers. Design/methodology/approach
Building on an inductive qualitative study of 59 millennials from three European countries (France, Italy and the UK) and by examining the mediating role of UGC and dissatisfied customers, this paper develops a conceptual framework of three clusters of secondhand luxury fashion goods customers: spiritual consumers, entrepreneurial recoverer consumers and carpe diem consumers.
Findings
The proposed SEC framework illustrates how the emerging themes interconnect with the identified consumers, revealing significant consumer actions and attitudes found in the second-
hand luxury goods sector that influence the usage of UGC and its integration into service failure and recovery efforts.
Originality
This study suggested that the perceptions of consumers seeking secondhand luxury fashion products differ from those who purchase new or never previously owned luxury fashion products Overall, this research sets the stage for scholars to forge a path forward to enhance the understanding of this phenomenon and its implications for luxury fashion companies
Reputation: The fall and rise of the RA Schools
Get PDFRA Magazine Summer 2024; article within a special issue on the RA Schools by the RA Schools Guest Editing Group
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