3128 research outputs found
Sort by
All That Remains
Get PDFThe “All That Remains” body of work was created as celebration of 30 years working as a textiles practitioner and acts as a milestone, repositioning my practice in a research context unconfined by the constraints of my commercial fashion print work.
Nostalgia, in the context of the digital age, is a key focus in the work and through the work I aim to reconnect and remember the precious fragments of my archive of family photographs. My context is an autobiographical narrative printed onto cloth, a memory bank, in which both physical photographic prints and digitally captured images are deconstructed and re-presented, the familiarity of which resonates and references one’s own values and connections with our past, present and future.
In a societal context our connection to our past is rapidly diminishing as the materiality of our physical world and spoken word as communication are replaced with digital platforms. I aim to evoke a collective experience of nostalgia, to invite curiosity and discussion about the way we recall past memory, interact with digitally created images and consider the value of the physical artefact in a virtual world. The linking of past memories, people and experiences creates both an emotional response and empathy for one’s own personal story.
I reference contemporary photographic theory which explores the influence of social media on human behaviour. Drawing on memory both real and imagined, fuelled by self-reflection and a relentless drive to experiment and create new work, the roots of my creativity are confronted, unravelled and exposed through print on cloth, the medium which first inspired me to create as a young child.
As a digital settler, born in the late 1960s and with three decades of analogue printed textiles experience, my approach to the use of Computer Aided Design is very different to a generation of younger digital native designers, who have never experienced a pre-digital existence. My lifelong passion for pattern and cloth combined with three decades of working as a print designer have equipped me with an analogue tool kit, with which I explore the world of digital design.
For over a decade I have pushed the boundaries of computer software in development of my work and in the pursuit of the highest quality digital print resolution available. With the development of the latest generation of digital printers, digitally printed textiles can now rival the quality of hand printing and even surpass it with the limitless opportunities it presents for creative expression. Digital production methods are often associated with mass production but my approach is more similar to that of a painter, building up complex surfaces and layers of imagery and my creative outputs are carefully crafted, honed, reworked and refined digital one-off pieces which have required a fluency in the complex language of our digital world.
The research outcomes, presented as a series of wall hung textiles art works, will be showcased at the new Contemporary Applied Art Gallery in London and a one man show at the Ruthin Craft Centre in Denbighshire
The first night of experimental boredom
Get PDFSeries of live and screened works by artists from across the world at Lodge 222, Dordrecht, Netherlands, curated by Frans Van Lent. Burgoyne made a live performance in response to the project's thematic. 'Post-it note disco' was the outcome. No music, just the aim to shed the randomly stuck post-it notes stuck to each others bodies, but without using their hands, as a live participatory performance
Transmedia characters: theory and analysis
Get PDFThis article sketches a theoretical framework and method for the analysis of transmedia characters that focuses on specific instantiations of these characters in individual media texts, before asking how these local work-specific characters relate to other local work-specific characters or coalesce into glocal transmedia characters as part of global transmedia character networks, thus evading what one could consider an undue emphasis on the “model of the single character” when analyzing the various characters that are, for example called Sherlock Holmes, Batman, or Lara Croft. The connections between these work-specific characters within transmedia character network could then be described as either relations of redundancy, relations of expansion, or relations of modification – with only redundancy and expansion allowing for medial representations of work-specific characters to contribute to the representation of a single transmedia character. In intersubjectively constructing characters across media, however, recipients will not only take into account powerful normative discourses that police the representation of characters across media but also draw on their accumulated knowledge about previously represented work-specific or transmedia characters as well as about transmedia character templates and even more general transmedia character types
Understanding comfort in homes designed on principles of Vaastushastra
Get PDFVaastushastra is an ancient vernacular architectural practice that has been utilized by Indians since the Indus civilization. This paper examines comfort levels in homes designed using these principles
and are built in Dubai. Some of these principles are similar to passive design theories and the correlation can be understood by examining the former. The correlation of Vaastushastra to passive design could be the underlying cause for users’ comfort in homes that are designed on these principles. The paper investigates the connection between the principles of Vaastushastra and users’ comfort in residential spaces. The core aspects of Vaastushastra are, Panch Maha Bhutas (5 elements) and Vaastu Purush
Mandala (Cosmic Grid). The Panch Maha Bhutas are earth, fire, water, wind and space, which represent the elements of nature. Users’ comfort in residential spaces is linked to four of the five senses, with taste being the exception. Homes in Dubai that are built on the principles of Vaastushastra were used to show the connection between the two theories. The result of the study shows the impact that each of these principles have on the residents’ comfort and how the design of the house could be modified to improve comfort
Out of sight, out of mind
Get PDFThis panel will present the outcomes of a two-week residency by a research team from the University of Brighton, School of Art and the University for the Creative Arts in September 2018 on the Mar Menor, a 170 km2 saltwater lagoon on the south east coast of Spain. The team were invited to undertake practice-based research on the changing ecosystem of this unique natural landscape, resulting from dam- ages caused by intensive agriculture, increased tourism and rising sea levels. The project and panel has been developed by a team of three artists, each bringing specific experience and knowledge of 360° video to undertake the research and create a unique understanding and manifestation of the changing ecosystem of the Mar Menor. This includes Paul Sermon who is currently working on collocated telematic experiences in 360° live video environments, Charlotte Gould’s work on developing immersive 360° animated augmented reality and Jeremiah Ambrose who is working on gaze controlled navigation through 360° video narratives. The overarching aim of this project is to create a unique interactive 360° video experience of the Mar Menor that manifests the anthropocene effects on this natural landscape as augmented surreal and metaphysical interpretations of the artist’s experiences during the residency. Through environmental, social, economic and cultural observations and en- counters the team are creating an immersive 360° installation environment that incorporates both video and audio recordings with augmented imaginary and predicted realities transformed from scientific data in obscure and profound guises
On paracinema and the dematerialisation of animation
Get PDFAlthough the technologies used in contemporary expanded animation are digital, this kind of work builds upon expanded cinema’s legacy of avant-garde practice. This chapter draws upon one strand of expanded cinema - paracinema - as defined by film theorist Jonathan Walley, who uses the term in the sense of the dematerialization of film into idea. Based on archival research and unpublished materials by VALIE EXPORT and Anthony McCall, examples of their expanded practice in paracinema are presented where film becomes live event and, thus, questions the institution of cinema, its strategies of voyeurism and perception. Extending this idea and building upon animation theorist Alan Cholodenko's notion of animation as concept, the animated performance and installation work of contemporary artists Tingting Lu and Birgitta Hosea is proposed as a form of para-animation. Working at the interface of live experience and recorded media, these works dematerialize animation and investigate the inscription of movement over time as concept rather than purely technique
Made by hand
Get PDFAlthough the mainstream animation industry has adopted digital production methods, the attraction of laborious hand-made methods for making animation persists in the independent sector. The chapter considers how ‘craftivist’ opposition to mechanical, technological and digital techniques is validated in this community of practice through ideas that haptic knowledge by skilled physical labour and an exploration of materiality, autographic mark-making and imperfection (Wabi-sabi) are guarantors of authenticity and individuality that can only be carried out by hand. Why is this? What ideas and assumptions can be seen to underpin the notions of craft and crafting? Tracing connections between craft and activism since the Industrial Revolution, this chapter critically reflects on discourses of craft and the handmade through reference to Ruskin (1851), Morris (1892), Hobsbawm (2000), Thompson (1980), Benjamin (1935), Krauss (2000) and Takahashi (2005).
Whereas the experimental animation community privileges analogue, handmade processes that appear to oppose and critique commercial animation production, building upon Warburton (2016) and Frayling (2017) it is argued here that this approach is underpinned by nostalgia and often faked. What looks like a hand-painted animation could actually be a simulation that was ‘painted’ in a software package: a pastiche of manual labour. Aesthetics alone do not guarantee that a work of art opposes the mainstream. Instead of recycling the past to create ‘artistic’ animation, it is argued in the conclusion that contemporary practitioners can equally investigate issues of labour and materiality through digital tools and virtual materials such as in the ‘ugly’ CGI animation of Nikita Daikur (2017)
Carousel
Get PDFCarousel was a group exhibition that turns around the possibilities found within the field of abstraction. At The Koppel Project Central, London in May 2019.
The exhibition uses the idea of the carousel to evoke a quick succession of objects or bodies in motion. This offers an overview of the sensory spin that abstraction might aim to provoke through colour, form and materiality. Either through painting, or sculptural installation, Carousel grasps this concept metaphorically by confronting multiple notions, such as the use of language, geometric or gestural systems and the examination of the material of painting itself.
The exhibition's intention was to simulate the intensity and absorption of a play space, highlighting the differences and similarities between each investigation. The heterogeneous nature of the works aimed to provoke an optical and tactile dizziness, thus allowing the works to become distorted or placed into focus, to probe at the myriad possibilities of material manipulation.
My work in Carousel 'Report in 2 parts (after Bellini) was made specifically for the exhibition, responding to the research proposition put forward by the curators Amelia Bowles and Antoine Langenieux-Villard, while also developing further ongoing studio concerns
Isotype in the early 1970s seen through American eyes in the Henry Dreyfuss Symbol Sourcebook
Get PDFThis presentation describes a journey beginning in the Otto and Marie Neurath Isotype Collection at University of Reading. It continues in the Henry Dreyfuss Symbol Sourcebook Archive at the Cooper Hewitt, Smithsonian Design Museum in New York, and will show how Rudolf Modley of Glyphs Inc. kept Isotype alive in the USA in the late 1960s and early 1970s
Data sources:
Access Repository Dashboard
Do you manage UCA Research Online? Access insider analytics, issue reports and manage access to outputs from your repository in the CORE Repository Dashboard!