Leeds Arts University Repository (CREST)
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The virtual worlds project: geological mapping and field skills
No full textThe Virtual Worlds Project is a UK collaboration between the School of Earth and Environment, University of Leeds, and the Leeds Arts University, to build a virtual environment in which to learn and practice basic geological mapping skills. Using the Unity game engine, a virtual landscape populated by rock outcrops with associated notebook entries has been created. This approach is not a replacement for field map work. Rather, it represents an in‐class tool with the appearance of a computer game with which to enhance basic mapping skills taught in the field in a virtual environment
Precarity pilot: re-defining the path of our working lives
No full textThe output is a creative project comprising an online platform and a series of nomadic workshops. It aims to address issues faced by precarious designers in inventive ways. It was a collaboration between Dr Bianca Elzenbaumer (lead researcher, writer, workshop leader), Fabio Franz (co-workshop leader), Caterina Giuliani (ideation, structuring of website, co-lead pilot workshop) and Gaja Meznaric-Osole (graphic design). Research process: Between 2014 and 2018, Elzenbaumer ran over 16 workshops in the UK, Germany, Italy, Poland, Slovenia, Switzerland, Portugal and Finland. The results influenced the generation of content for the online platform, which went live in January 2015 and was gradually filled with content. Research insights: The project raised questions about how designers can act individually and collectively to make space for critical practice, despite the precarious working conditions pervasive in their professional field. The workshops enabled the proposal, critical assessment and conception of “de-precarising” tools that designers can draw on in their everyday practice in order to create a more empowering and egalitarian professional environment, allowing themselves and the design field to evolve in terms of a much-needed eco-social transition. Dissemination: • Keynote, Papanek Symposium 2017, London. • Keynote, By Design or by Disaster conference 2017, Bolzano Italy. • Keynote, Graphic Design Educators Network Annual Conference 2016, Cardiff. • Keynote workshop, Beyond Change Swiss Design Network Summit 2018, Basel. • Paper, Association of American Geographers Annual Conference 2015. • Paper, Cumulus Conference in Milan 2015. • Group show, Akademie Schloss Solitude in Stuttgart (21 May - 5 July 2015) • Design Museum in Helsinki (FIN) as part of the exhibition Lorem Ipsum – Talking about graphic design (23 March - 27 May 2018). • University of Alberta in Edmonton (CAN) as part of the group show Design Latitudes (12 May - 6 June 2015)
Catalytic commoning
No full textThis exhibition explores relationships between film, architecture and the city. The installations weave together film, scenographics, architectural interventions and issues of public space. Investigating the processes of design and the teaching of design, the exhibition questions what is real and what is 'common' as a new approach to architecture-making. Co-curated by Sarah Mills and Doreen Bernat
Sharon Harvey: Photographer [review]
No full textSharon Harvey is a photographer who undertook her BA(Hons) Fine Art, Printmaking & Photomedia at Central St. Martins College of Art & Design, London. As well as exhibiting extensively in Leeds, London and Melbourne, Australia, Sharon’s images have also been reproduced in various publications and photobooks including Northern Gothic (2014), Ultraviolet (2014), Black and White Photography Magazine (2012) and Lenscratch (2013), an online contemporary photography blogzine. Sharon works with a range of photographic processes that enable the materiality of the resulting photographs to become apparent
Samples
No full textThe outputs is an artefact, Samples, comprising a collection of samples created when conducting practice based research into the manufacturing on sustainable papermaking for print. Research process: Samples were created using recycled and reclaimed stocks using traditional papermaking processes developed cottage industry environments and in line with the principles of the slow movement. Rainwater was collected to ensure every stage of the process was adhering to a reclaim, refuse and adapt philosophy. Research insights: The insights gained were about practice-based research and archiving with data collection as a method. This resulted in practical research forming a practice in itself. Dissemination: The research was disseminated via exhibition as part of The Process Continues at Leeds Arts University, 26 January – 13 March 2015
Karen Tobias-Green
No full textThe entire document brings together materials produced for and during a PhD by Design-study and workshop day held at Leeds College of Art on May 14th 2015. This day was-dedicated to exploring multiple possibilities of innovatively disseminating practice based design research. This particular presentation is concerns the role of writing as part of a visual practice. I believe words are-powerful beyond measure, that no language is free from agenda (or gender, for that matter) and that writing is every bit as much an art as any of the visual arts. Like the visual arts, I think it is both incremental and editable and also inspired, inspiring and occasionally heavenly. I try to work by discourse, and by making and by engaging on a very real level with words, text, language and people. This presentation asks how do we How do we make the complex accessible without losing its gift of difficulty. Difficulty as in the acceptance that there is no single truth or privileged knowledge but instead a rhizomic interplay that demands the asking of new questions, or the asking of old questions differently
Modern history vol.III
No full textThe exhibition Modern History Vol.III was one of three related group exhibitions realised at different venues across the North West in 2015.
The exhibitions were curated by Lynda Morris, Professor of Art History and Curation at Norwich University of the Art. Artists featured included: Pavel Buchler, Rosalind Nashabibi & Lucy Skaer, David Osbaldeston, Conrad Atkinson, Lubaina Himid, Magda Stawarska-Bevan. The purpose of the exhibitions was to offer alternative perspectives on cultural, social, and political change, from different generations of artists based in the North West of England. To present a microcosm of dialogues occurring, articulating how these are intertwined with the world today. The guiding principle behind the exhibitions was that history is easily forgotten, and efforts should be made to remember it. Modern History Vol III addressed national and international, social and political issues post-1969. I presented a work, produced with artist Emma Rushton, which had previously been shown in solo exhibitions in the Netherlands (2007) and Germany (2009). The film work Will Someone Stop You...? consisted of edited archival footage (colour, 17mins) and a wall text, addressing the illegal flight of West German Mathias Rust in to Moscow’s Red Square in May 1987. A publication was produced, featuring documentation of work in the exhibition along with an introductory essay Modern History by Lynda Morris and exhibition essay The Owl of Minerva by Richard Parry, Curator, Grundy Art Gallery. The exhibitions were funded by Arts Council England, with support from Lancashire City Council and Manchester School of Art and took place between April and November 2015. Modern History Vol.1, Grundy Gallery, Blackpool, (25 April - Saturday 13 June 2015); Modern History Vol. 2, The Atkinson, Southport (18 August-8 November 2015); Modern History Vol. 3, at Bury Art Museum & Sculpture Centre ((19 September-21 November 2015)
Virtual landscapes: Geoscience education in digital environments
No full textThe output is a digital artefact designed by Annabeth Robinson in collaboration with the University of Leeds School of Earth and Environment, who supplied the underpinning geological knowledge and understanding. The aim was to build a virtual environment where geology students could learn and practice geological mapping skills. Research process: Using an approach based on serious games design, Robinson developed a virtual landscape using the UnityTM game engine. Natural phenomena, such as rocks, hills and outcrops, were recreated in a virtual space to accurately emulate the physical world, thus providing the student with an authentic field trip experience. The resulting artefact was tested, evaluated and trialled with geology students. Research insights: It was found that scale must be carefully considered when using real topography and real geological maps in the real world; what looks plausible on paper does not always translate in the virtual environment. It highlighted the potential use of virtual reality field trips in order to widen participation within geology. Furthermore, through the development process, constructed landscapes were found to be more efficient. Dissemination: The artefact is openly available for use and the research has been disseminated at conferences including: - Association for Learning Technology annual conference, 2015. - Geological Society of America annual meeting, Denver, Colorado, 2016. - Geological Society of America annual meeting, Seattle, Washington, 2017. - JISC Digifest, 2017. The project was also acknowledged for Outstanding Digital Innovation in Teaching or Research by the Times Higher Education Awards in 2016
Play to rehearse
No full textThe short graphic story, Play To Rehearse, narrates an account of the transitional experience between childhood ideals and adult realities. It is practical research contributing to the knowledge of how to communicate intimate emotional accounts through illustrated fictionalised stories. The comic looks to innovate approaches within the medium by partnering a ‘confessional’ (M.L Rosenthal, 1959) poetic style of writing with stylised sequential imagery to explore original methods for sharing and visualising complex psychological or emotive states. This piece in particular explores the concept of communicating authentically versus through a performed persona of oneself and ultimately plays with the notion of truth within the ‘confessional narrative’ genre. It does so through an exploration of character creation in comics and questions how the true narrator of the comic can be masked by using a visual representation of someone ‘acting’ a part instead. In doing this, the comic intends to challenge perceptions of the authorial voice within the confessional/biographical comic genre. The story contributes to a body of contemporary comic work exploring and evolving sequential illustrative practice through unpicking the structuring and creation of comics and the conventions within this field. Rigourous process has been used to validate the significance of the piece through its selection via juried panel for international exhibition and with this comic, the author is one of only a few women selected for exhibition at Salon Stripa, International Comics Festival 2015 in Serbia. The comic was also exhibited in Leeds City Library’s Art Library exhibition space as part of F= Presents “Festival Of The Body” exhibition, 2016