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Sea of Cables v2.0
Get PDFLive performance exploring on the fly improvisation using a variety of analogue and digital platform
Becoming-Supervisor Becoming-Supervised
No full textPhD supervisors and PhD students from the University of the Arts London were invited to participate in an experimental research study titled Becoming-Supervisor Becoming-Supervised.
This study was carried out by Dr Mark Ingham, Reader in Critical and Nomadic Pedagogies, at the University of the Arts London; Dr Sara Andersdotter, researcher, artist and academic at the University for the Creative Arts Canterbury; and Dr Rachel Marsden, curator, researcher, educator and arts writer, PhD supervisor at the University of the Arts London.
The purpose of this research study was to gather thoughts about interactions with PhD supervision in an art and design context. The article takes an experimental approach and incorporates responses to a questionnaire about PhD supervision (from both PhD supervisors and PhD candidates)
Culture-Led Housing
No full text'Culture-Led Housing' is a 4-part podcast mini-series as part of the wider podcast series and ongoing research project 'ASSET ARREST'. Developed in collaboration with the London Cultural Diversity Lab (part of the Creative Impact Research Centre Europe [CIRCE]) at City, University of London, these episodes explore the idea of what I call ‘culture-led housing’ and whether such housing projects can offer radical alternatives to financialised housing models.
If property developers can profit from working with artists, can artists transform this relationship to provide radical
housing alternatives within a culture of crisis? Both art and housing operate through a logic of speculation. This means they rely on the assumption or promise of future profits. This podcast series examines the points at which the two meet: property developers use artists to produce cultural value that can be leveraged for profits,
whilst artists may benefit from this process by way of commissions and affordable living/working space. Through a series of conversations, I examine what I call culture-led housing and the social, economic, political, and cultural processes that have enabled such developments. I will interrogate the modes through which culture-led housing developments are operating and whether
they can resist playing into processes of gentrification to offer an alternative to financialised housing.
My definition of culture-led housing includes housing projects that have either been initiated by artists or cultural workers
or have included them as a key factor or party in their development. Artists may be included as utopian designers or signifiers of certain characteristics that contribute towards placemaking and thus the marketing of an area or development. Culture-led housing can be designed with the purpose of providing houses for artists or can be designed with artists for the purpose of housing a wider community. In some cases, there is an attempt to forge a relationship
between the resident artists and the wider local community.
Throughout this 4-part podcast series I speak to creative practitioners across the UK about their experiences of living within different forms of culture-led housing
Preparing undergraduate designers using the results of a DE&I survey of the local design industry
Get PDFThis paper presents and analyzes the hidden biases in the Dubai design industry and proposes a pedagogical framework to assist students in transitioning into the workforce by equipping them with relevant tools to tackle their occurrences and engaging in reflection around their own biases. Diversity of Dubai is heralded everywhere, yet many designers experience bias from clients, colleagues, and employers. The framework of the survey was based on bias studies conducted in the USA by AIA and in the UK by BIID, with questions modified to align with cultural appropriations applicable to the UAE. Understanding that bias exists is the first element, then followed by bias interrupters. ‘Bias Interrupters for Architecture’ is published by AIA and it discusses various strategies that can help firms’ “diversity metrics, foster a culture of belonging, and make progress toward eliminating bias” (AIA). Data was collected from September until December, 2022. Findings from the survey and approaches from the bias interrupters report will inform lectures, tasks, discussions and other tools in professional practice class and any other classes which support students’ understanding of diversity, equity, and inclusion. Survey findings are expected to confirm that various biases exist. By illuminating both what students may face as professionals and their own hidden biases, they are better able to identify bias and to not engage in similar behaviors. It is important to tackle this issue from various angles simultaneously. Therefore, teaching students the significance of their role in this equation is also an important aspect of everyone’s success
On Memory
Get PDFOn Memory is a collaboration between a composer (Whalley), a neurologist (Zeman) and an author (McCall Smith). Explored through music, science and poetry; each movement tackles a different aspect of memory. How are memories formed? What is the power of forgetting, as well as remembering? What part does music play in our autobiographical memory?
After an interval, this is followed with a discussion with the authors led and chaired by Professor Catherine Loveday, digging deeper into the special relationship that music has with memory and our sense of self.
YouTube videos show the performance at Kings Place, and the discussion
Making it up: navigating the 'maverick' self in higher education teaching
Get PDFA paper to accompany the keynote speech by Dr Curtis Tappenden, senior lecturer, Further Education, UCA. The keynote opened the Liverpool John Moores University, Centre for Educational Research conference entitled Challenges, Innovations and Transformative Practices, 21-22 June 2023
Explorations of ‘maverick’ educators within the institutional arts and art and design higher educational context
Get PDFThis study explores non-compliant attitudes and behaviours of educators, self- defined and/or dubbed ‘mavericks’ in the arts/art and design sectors of United Kingdom (UK) higher education (HE) institutions. How these educators work within them and the effect they have on these establishments is central to the discussion. Working in bureaucratically-run HE contexts under new managerialism, these educators establish their roles, at times accepting but also challenging the culture of audit, accountability and monetary efficient models. It is a central task of this thesis to understand why and how they do this and the effect such behaviours have on their institutions in the sector.
The thesis is founded on a critical incident: a colleague’s accusation that I was a ‘maverick’ for employing unconventional practices, and this raised questions for me concerning educational identities and adherence to pedagogic rules for those who choose to work under neoliberal management despite an unwillingness to fully engage in its directives. To express and understand details of management- teacher contestations of power, my professional life experiences and those of seven selected educators practising in the sector are explored and discussed using the narrative interview method of ‘inter-views’. Suitability for the study was established through author-participant correspondence prior to the interviews, where each participant self-identified or was identified as ‘maverick’ in their contexts, having concurred with the project’s questions and emerging themes. Participants’ interviews identified experiences shared in common, contradictory experiences between institutional expectations and personal, autonomous goals and practices. Their storied accounts produced evocative texts, supported by a blended constructivist–autoethnographic methodology. Analysis of data related the participants’ maverick attitudes and behaviours to the theoretical and critical literature exploring power, resistance and liminality; subjects theorised using perspectives offered by the work of Bourdieu, Foucault, Goffman, and Bakhtin to aid constructivist interpretations of maverick identities.
The thesis attempts to historically contextualise the problem of mavericks in the arts/art and design HE sector, problematise their relationship with neoliberal education management using vivid examples from participants’ data to understand what defines them and identify and characterise the attitudes and behaviours they employ to achieve their aims. Key questions being asked in this thesis are:
1. What is a maverick in the context of arts / art and design UK HE?
2. How do mavericks act in arts / art and design UK HE?
The conclusion summarises the thesis findings that participant mavericks are catalysts of change, gain respectful trust and establish credible alternatives to educational management restraint. The research exposes alternative visions implied through successful resistant and compliant practices in HE contexts. Recommendations are made for further studies to consider unsuccessful mavericks’ impact on institutions through scrutinising behaviours in context. This thesis is an original contribution to knowledge addressing a deficit of literature exploring maverick identities and behaviours in arts/art and design HE, and it reflexively positions maverick identities from a maverick perspective, where they are important to the ongoing life and development of education in the sector
Seeing slowly: embedded visual literacy workshops for fashion & textiles students
Get PDFThis lightning talk presented successes and challenges to learning and pedagogy, learnt through the delivery of embedded visual literacy library workshops within higher education Fashion and Textiles courses at the University for the Creative Arts.
Conducting creative and academic research in the disciplines of fashion and textiles requires analysing images, trends, and cultural phenomenon from a multitude of visual and digital sources. Images are rich with detail and subject matter, and they provide a lens through which these students can engage with emerging trends, cultural phenomenon, and historical and social contexts or theories.
Advances in technology and social media mean that higher education fashion and textiles students must also now learn to navigate these areas of research within a highly immersive and fast paced visual culture. Through a series of embedded visual literacy workshops, involving a structured visual analysis framework activity, students are given the dedicated space and time to learn the practice of slow looking. This imparts a way of learning that emphasises patient and immersive attention to information and images. Both in and outside the art library, visual literacy can produce new opportunities for meaning-making and critical thinking that may not be possible though everyday interactions with visual culture
Tom Carr (1912-1977)
No full textAn illustrated 4,000 word essay on the life and work of Tom Carr, sporting artist
Authorship in contest: a report from the boundaries of Creative Documentary
Get PDFThe content and boundaries of moving image authorship are more settled in the artist's cinema, re-enforced by its identification of an individual creator in 'artist'; the cultural siting of this cinema at the margins of the industry, and its artisanal and crafted modes of production. However, when artist’s work crosses boundaries with non-fiction and invites framing as "creative documentary", the "thorny problem(s)" of authorship invoked by Bruzzi (2006) begin to manifest. Responses to works that straddle these boundaries offer material for questioning models of authorship in non-fiction cinema.
Evidence of failures of authorship in a work of a personal non-fiction film shown at VE 2002, Archive, Album and other Images (Connolly 2022), were found by a peer reviewer. These criticisms can be responded to by examining their modelling of authorship, and shown to be restricted to some registers of cinematic enunciation and not others. The articulation of authorship with respect to the haptic (Campt 2019), and embodiment in non-fiction as invoked by the work of MacDougall (2006), and the artists cinema, by Marks (2000) and Chamarette (2012) will be noted. By discussing these exclusions, a modelling of authorship in non-fiction cinema will be explored in this presentation
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