Leeds Arts University Repository (CREST)
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446 research outputs found
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The new spectacle: how effective is mobile augmented reality as tool for the manifestation of dissent?
No full textHordes of Networked AR Creatives deploy Viral Virtual Media to overlay, then overwhelm closed Social Systems lodged in Physical Hierarchies (Manifest.AR 2011). The above quote taken from the Manifest.AR’s (2011) collective manifesto demonstrates the power its founders attributed to augmented reality technology (AR); in particular, its ability to disrupt closed physical hierarchies through a form of technologically induced ‘détournement’. Détournement is a stratagem devised, or at least, coined, by Debord (1967) as a method to resist and undermine the pervading spectacle of capitalist society “by challenging the meaning of something taken for granted”
Drawing and the street texts of Chapeltown
No full textThis article is a meditation on a field text that explores the concept of the sentient street. The graffiti walls of Chapeltown, a multi-cultural area of Leeds, a Northern English city, talk to an artist embedded within its community and these street texts give rise to drawings that embody that experience. Nancy’s concept that a drawing does not become information, but a sense, is used as a guide to the way textual information becomes embedded into the feeling tone of a drawing
Regenring …visual lives
No full textWriting for visual arts students remains a current dilemma. Academic essays frequently form assessment requirements in awards that are studio practice based. This series of images illustrates a project created for fine art undergraduates, drawing upon the research-led practice experiences of the academic leaders. The Academic Poster Project regenred a model commonly used in science to accommodate both the individual interests and methods used by visual learners, which in turn become the participating student’s plan for narrating argument, knowledge and criticality. Writing in the visual arts can be difficult territory [...] students (and indeed staff) are often uncomfortable with the role of writing and theory within the subject: it is often seen as separate and unrelated. (Shreeve et al. 1999: 345–57)
Freedomination
No full textFreedom and domination appear to be mutually exclusive concepts. This performance draws attention to this binary, through the concepts of objectification and empowerment, by exposing and exploring a grey area in between. Women in contemporary societies often experience a simultaneous mix of overt and subtle messaging in adverts that suggest a women’s power is confined to her attractiveness and desirability. There exists a plethora of consumer products promising to liberate women if they choose to objectify themselves. Some of these messages are overt and highly sexualized as in Victoria Secret ad campaigns, others such as Dove ad campaigns offer a more subtle narrative that beauty is a path to better health. The adverts use sexual subjectification to promote commodities and the freedom to consume has become a pervasive form of oppression. Freedomination recognises this paradox and seeks to expose it through dialogue. Set up like an unruly debate, the Soapbox performance will ask: has feminism become a pursuit of freedom that is little more than a freedom to consume, and sexual empowerment that is confined to a highly commodified from of self-objectification
On hold
No full textThe output is an exhibition in collaboration with book designer Fletcher and photographers Higginbottom and Greenwood. The output is an interactive exhibition where viewers are invited to select and sequence photos from the project to make an individual version of the city in book form. Research process: Working alongside Higginbottom and Greenwood to develop ways to translate their process of photographing Leeds city centre into an interactive publishing experience. Through taking part in this collaborative process the audience was asked to form a dialogue between images, allowing them to create their own version of the city, one without ownership and a place that could only exist through interpretation. This emulates our own research methodologies as we made sense of the project and made these connections. Research insights: The research aimed to consider the publishing process and book design. By handing the control over to the audience to edit, sequence and bind their own version of the book. This starts to open questions about the physical act of publishing and draws upon previous research into the physical book form. Dissemination: Exhibition and book launch at Village, Leeds from 15 - 18 November 2018
An analysis of 3D printed textile structures
No full text3D printing in Fashion is quite a significant innovation which came to realization as part of the zeitgeist of the 2000’s. This is a time where technological progress has moved fastest in the last 20 years than it has in the last 100. This exponential growth means that the world in which we live in is changing at a rapid rate and both design and materials will need to alter along with it. Focusing on the areas of technology, design and manufacturing this research aims to look at new textile structures with extensive research undertaken of existing 3D printed textiles and fashion. The main aim is the categorization of all existing 3D printed textile structures in fashion, in order to recognize their properties and benefits
Practical wisdom and democratic education: phronesis, art and non-traditional students
No full textPhronesis or practical wisdom has been understood in relation to the professions where people were able to deliberate wisely by drawing upon their knowledge, character and experience. This project proposes that non-traditional (mature or Access) students also have the potential to draw upon their practical wisdom in order to act well on their degrees. Using the ideas of the educational sociologist Basil Bernstein1924-2000 it is argued that higher education within art and design in particular advantaged some groups of students over others. He proposed a democratic education where everyone felt enhanced, included and able to participate. Informed by his work, this book argues that phronesis, the ability to deliberate well should be an intrinsic part of a democratic education not only in the arts but in other vocational and academic disciplines and subjects.
This includes consideration of four case studies that discuss the narratives of four post Access-to HE students during the three-four years of their degrees in art and design.
The book aims to make the work of Basil Bernstein accessible to those interested in the sociology of education (students, academics, managers and researchers). It ends with some recommendations for students, Access to HE tutors and lecturers in Higher Education regarding what is good and what is right in democratic curriculum design and pedagogy in Art Education in particular and more widely in other subjects and disciplines
In uncertain words
No full textHow can a multimodal art practice provide both a plea for precision and a plea for worth of uncertainty in a political climate that wants for both? Using a series of her moving image and text-based artworks as examples Crouch discusses the mutable and context-dependent nature of linguistic meaning. Words neither represent reality nor vocalise thought in any simple, transparent way. Yet still they provide an insight into human cognition, sitting suggestively at the intersection of an individual speaker’s cognitive endowment and a socially agreed system of rules. Crouch’s artworks use wordplay and interaction of text and image to highlight fundamental categories –space, time and causality – that apparently structure human cognition whilst evidencing that our language use does not map onto these entirely. By foregrounding the multimodal and contingent nature of meaning the artworks posit a complex and embodied view of knowledge that values language but does not prioritise the verbal above all else
Uncanny valley
No full textUncanny Valley is a series of images, which collages photographs of the Gleadless Valley estate. Research process: Whilst other estates have been canonised and redeveloped, Gleadless Valley, on the other hand, is backgrounded in critical consideration. Still without regeneration, it has been described as the city’s worst area to live. The Uncanny Valley images are a collection of collages, using photographs taken by a series of photographers. The compositions repeat the lyrics of the estate — concrete, hand rails, tv aerials, windows, balconies, satellite dishes — and reinterprets them as a reality of fictions. The work is not concerned with the exhaustible knowledge of the estate. Instead, it is interested in the “withdrawn” twilight qualities of the estate. As such, it is not a panoptic fact file, but an oblique indirect approach to an otherwise under-imagined object. It reveals an aspect to the estate previously unconsidered when it has been approached exclusively from an architectural, socio-historical, or geographical perspective. Research insights: The work interrogates both the structure of imagery and the potential of co-authorship. It reveals how graphic design can sit between a long form essay and a fiction in communicating experiences of place. This exhibition furthers research considering the emergent qualities in encountering images situated in the mundanity of an everyday realism. The work also considers that the collage maker’s job has not been to find something mystical in the mundane. Instead, it is to destabilise habits of perception and reveal their materials to always already be collage-like. These lines of enquiry are rare for graphic designers in considering the ambiguous, confusing, unfixed, and processual nature of images, signs and interpretation. Dissemination: Uncanny Valley was exhibited at Temporary Contemporary, Market Gallery, Huddersfield. The exhibition was accompanied by a limited-edition artist’s book
Music as a language: ‘Developing a rhythmic pedagogy’ & ‘rhythm and language: ‘spaces in time’ as phonology’
No full textResearch process: The notion that Music functions as a ‘Language’ is often stated but without clear comparison or application. This body of research seeks to make more explicit links between language and music, identifying intersections across the ontological objects of Language, Space, Rhythm and Time, considering how linguistic theory and modes of language acquisition could apply to rhythmic skill development and pedagogy. The point of departure is through an initial investigation as to whether Music is a Language, and by which definition. Drawing upon Mills and McPherson (2006), a critical comparison of current modes of language/musical skill acquisition is drawn, problem posing the potential for a review of modes of rhythmic pedagogy. Cantwell and Millard’s (1994) hierarchies of music/linguistic structures are used to justify the representation of Grebb’s (2013) ‘Rhythmic Alphabet’ as basic rhythmic units or ‘Rhythmic Phonemes’, organised in multiple ways, representing infinite rhythmic potential. These ‘Rhythmic Phonemes’ are used as building blocks for modes of perception, able to organise and communicate ‘Rhythm’ with respect for its ‘Space’ and ‘Time’ components. Pedagogy is, finally, informed by findings, disseminating at Music Education and Musical Language conference events. Research insights: Explorations of the links between language and rhythm can help develop an understanding of rhythm as ‘phonological constructions of ‘phonetic’ units, deployed across space and time as communicative action’. This understanding develops our ability, as musicians and educators, to perceive, organise and explain rhythmic material, impacting upon communications within performance and pedagogy disciplines. Dissemination: The work was disseminated at:
‘Developing a ‘Linguistic’ Rhythmic Pedagogy’, York Music Education Conference: Connections and Communications in Instrumental and Vocal Teaching, 26-27 June 2018. ‘Pedagogy of Rhythmic Language’, Music Education Solutions – Curriculum Music Conference, Walsall, 21 March 2019. ‘Rhythm and Language: ‘Spaces in Time’ as Phonology’, University of Birmingham, 14th May 2019