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How do you teach something no one can see? And if you can’t see it, how do you know if it’s any good?
No full textThis proposal starts from the premise that art is an event of materiality, not simply an object of matter, but a phenomenological field no less of absence and withdrawal, from place, of actions - in effect, resulting in a site that is estranged from all forms, for makers and viewers, students, and teachers alike. We will discuss this in a two part overview of this paradox of materiality between the physical, intimate, and sensed and material forming's of the virtual, distant and visual.
It applies key contexts that propose artworks being indicative of elements and not productions of ‘things’ (Merleau-Ponty/Levinas). The concept of clearing as a means in which materials of making are absorbed in the realisation of the work as it discloses an ontology of site beyond exteriority and aesthetic appearance (Heidegger); An intersubjectivity that emerges where upon ‘the visible is pregnant with the invisible’ (Merleau-Ponty) and in contrast to the functionality of material (Heidegger) memory makes the past available to me for my future (Levinas) through that exchange of expression and feeling (Dufrenne).
Hence the knowledge we bring to a subject, and the experience of the invisible (art) as one in which we co-create between a pre-reflective situation of art’s raw facticity, and the application of artistic languages, processes, and methodologies as the means in which it may be concealing that reciprocity.
Discussing and teaching art may be a paradoxical phenomenon, being as it is between visuality, the physical and the mental. As such evolving at an interspace between past and future that is present through its dispersal, indeed as Levinas suggests this ‘non representability is the surplus of the lived body over the representation of it.’ (2015:43)
This presentation will unpack the paradoxical nature of making, its comprehension, and teaching. In this, erasure and concealment are in fact the means to reveal that concealment inherent within art-working and making, as one set of assemblage unforms and another emerges in that reterritorialization and future forming.
In doing so reflect the value and challenges of agency, the paradoxical means to radiate meaning and illuminate sensing by the very concealment inherent within that material process, and the resulting potential of these distinct phenomena of the sensorial yet invisible, and the seen yet distant
The union of different kinds: classless classes
No full textIntersectionality refers to different forms of discrimination and disadvantage intersecting and overlapping experiences of individuals. Higher (creative) education contexts are similar to social settings, which might involve concerns about race, gender, sexual orientation, class, ability, religion, and other identities. For example, every student may face discrimination based on their diverse backgrounds, and this intersection of identities may impact their experiences in higher (creative) education negatively. To eliminate challenges and barriers not only for students but for all participants in the environment, according to current literature, intersectionality in higher (creative) education is applied by acknowledging different identities, creating more inclusive classes, and involving a wide variety of backgrounds in the settings. However, without a supporting system approach, implications may become ineffective and turn into negative outcomes. Moreover, without addressing students’ different interests and learning capacities, only inclusive classes based on identities may come out with unfavourable results. Therefore, this chapter proposes a new system approach to provide optimum intersectionality in higher (creative) education settings in order to create an inclusive environment for all while enhancing the learning experience
Assessing product circularity in practice: insights from industry
Get PDFThe use of the concept of ‘circularity’ within government, policy, industry, and academia, has grown exponentially in the last decade. As part of the European Commission’s Horizon 2020 funded project, ORIENTING, The Centre for Sustainable Design ® at the University for the Creative Arts conducted 21 in-depth qualitative interviews with companies that claimed to have a core circular economy business strategy. The data collected from the interviews was analyzed using a thematic coding methodology to 1) gain insights into how product circularity (PC) is understood by industry, PC strategies currently being implemented across various sectors; 2) identify barriers for implementation that can enable further discussions for theoretical and conceptual innovations for
remanufacturing, reuse, refurbish and repair and new ways for production and consumption, and 3) contribute to the development of methodologies and tools for measuring product circularity beyond recycled inflows and outflows. A key finding was the lack of harmonization of the concept of PC and CE more generally across different sectors. Moreover, to date, the development of methodologies that seek to quantitively assess PC performance for internal decision making and external communications, have focused primarily on assessing the use of recycled material inflows and outflows; thus, positioning circularity as synonymous to recycling. Conversely, measuring use phase related PC issues e.g., repair, reuse, etc. is still in the early stages due to a lack of data on customer use by companie
3Rs: reuse, repair, refurbishment and resale report on cricket gear
Get PDFReport on sustainability challenges and opportunities related to the reuse, repair, refurbishment and cricket gear (PASIC). This research is funded by UKRI via an Arts and Humanities Research Council (AHRC) Impact Acceleration Account (IAA) grant awarded to UCA
Streamlined LCA of batting pads
Get PDFThe report provides the result of a streamlined LCA study on cricket batting pads.Circular Cricket Gear (CCG) project is running between 2022-23 and is funded by Engineering and Physical Sciences Research Council (EPSRC)
Sense of belonging, international migrants' spending, and implications for their subjective well-being
Get PDFA lack of a sense of belonging in the host country has become one of the most common challenges facing international migrants in today's sociopolitical environment. Our two online experiments with 881 international migrant workers in the United States jointly demonstrate that, to cope with their lack of a sense of belonging in the host country, international migrants may spend money suboptimally: more on material purchases but less on experiential and prosocial purchases. More importantly, our studies suggest that prosocial purchases are more effective than experiential
purchases in increasing international migrants’ subjective well-being. This is because prosocial purchases can lead to both relatedness need satisfaction and beneficence, with each independently contributing to international migrants’ subjective well-being. Our research suggests that public policymakers should address the social exclusion international migrants experience when moving to a new country because it can have a negative impact on their subjective well-being. Our research further suggests that one way to mitigate social exclusion is to encourage international migrants to spend money on others rather than themselves
Global policy covering sustainability in fashion and clothing: a review and implications
No full textIn Chapter 4, Charter and Sanchez-Moreno highlight the lack of industry-wide policies to regulate the fashion and clothing industry. The clothing industry has a significant environmental and social footprint e.g. accounting for 10% of global carbon dioxide (CO2) emissions, but it is surprising that efforts towards decarbonisation and the reduction of global greenhouse gas (GHG) emissions remain voluntary. The chapter is not designed as comprehensive review but provides an overview and insights into emerging policy related to sustainability in the sector. It highlights developments across Europe, North America, and Asia-Pacific regions related to climate and net-zero, waste management, eco-design, transparency, and marketing claims. Europe is shown to be leading the way, primarily through the European Commission with initiatives such as the EUStrategy for Sustainable and Circular Textiles published, along with other national initiatives such as textile-specific Extended Producer Responsibility (EPR) schemes emerging in France, the Netherlands, and Sweden. The chapter concludes that global policy on waste management, transparency, and social sustainability for industry is limited, but now there are indications that policymakers in Europe and in some states in North America have fashion, clothing, and textiles on their agendas
Queer lands: spirit, land art and neo-materialist visions
Get PDFThis practice-based research focuses on land art, Queer Spirit and neomaterialism to reclaim the land as queer and spiritual, using a multiplicity of media, including photography, sculptural forms, mark making, video and creative writing.
This study proposes entangling neo-materialist principles of key theorists such as Karen Barad and Donna Haraway, with José E. Muñoz’s utopic notions of queerness. Viewed through a neo-materialistic approach, nature becomes vibrant matter, its particles are all constantly affecting one another, always in flux and becoming-with, in constant ‘trans-formation’. Nature is indeed intrinsically queer. At the same time, queering becomes a spiritual process unveiling its inherent makingkin properties, joining every entity, human and more-than-human, in unpredictable multiple and multispecies modalities. Every particle is alive, has agency and it’s in continuous inter- intra- trans- relationships with everything around it.
My process is based upon a multiplicity of voices, sources and materials from different times and contexts, reusing, reclaiming and (re)channelling them through my art practice. In my thesis, I discuss how in the 1960s and 1970s, land artists have proposed a different way of making art with and in nature, including the more spiritual and human-scale approach of Ana Mendieta. I have reused/reclaimed/queered some of their methods, trying for example to apply them to the forest and to some Neopagan sacred sites, using photography, painted rocks and mark making.
I then define Queer Spirit as a spirituality made by and for queer people, tracing its origins, developments and porous borders, together with its contemporary embodiments, particularly among the Radical Faeries and in contemporary art practices. Influenced by authors such as Edward Carpenter, Harry Hay and Arthur Evans, together with Indigenous, Neopagan and eco-feminist beliefs, Queer Spirit is a spirituality closer to and more in tune with nature, its cycles and the land, one that emphasises the joy of life, sex and the celebration of the body. Through a neomaterialist lens, Queer Spirit becomes a process of disrupting heteronormative spiritual dogmas to find new and radical ways of being in nature and with one another, human and more-than-human, a making-kin with matter and all beings.
My final body of work, comprising of five short videos and a large writing piece/poem on walls, represents a sort of physical materialisation of queer land(s), digital videos projected as dreams for utopic alternative being-with/making-kin-with in multiple modalities, to open the land for new queer visions and kinships. Through creative writing and video, land art methods are fused with Queer Spirit and neomaterialism, transforming the land into a utopic spiritual space full of potential new visions and horizons.
Through my practice, I realise a form of queering that can be called camp entanglement, one that fuses spirit, matter and becoming-with, making-kin-with human and more-than-human
Enter the archive: research report
No full textThe purpose of this report is to evaluate the status of the photographic archive at National Galleries Scotland (NGS) in relation to Equality, Diversity and Inclusion (EDI) and develop knowledge surrounding the stories of diverse communities within the NGS collection, with an emphasis on the lives of women and non-binary people. This research will support NGS in developing an Arts and Humanities Research Council (AHRC) grant application, in collaboration with Fast Forward: Women in Photography. The following findings and recommendations will help to inform the foundation and objectives of this shared funding bid, which will ultimately aim to develop inclusive collecting practices and policy for photographic archives in Scotland. The bilateral concerns of this report, in respect to these desired outcomes, are to summarise the Migration Stories (2011-13) exhibition programme and to analyse the limitations of the photographic archive more generally, forming Section 2 and Section 3 of this document, respectively. Section 4 will comprise recommendations formulated based on the findings of Sections 2 and 3. Research was carried out over a period of three months, from August to October 2023. It should be noted that, throughout this document, ‘the collection’ and ‘the archive’ will be used somewhat interchangeably to refer to the entirety of art-historically relevant objects held by NGS. However, there are (often blurred or overlapping) distinctions between ‘collection objects’ and ‘archival objects’ that may need to be drawn out and further defined as research for Enter the Archive progresses, as indicated in Section 3.3
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