Leeds Arts University Repository (CREST)
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446 research outputs found
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ArcGIS to unity: a design pipeline for creation of 3D terrain in serious egames for geology
No full textOne of the key challenges during the development of the Virtual World Project ‘egame environment’ discussed in this issue was the creation of the digital virtual landscape from an original 2002 base map of a field area. In this [online] paper we will walk through the design pipeline that was developed by the virtual worlds project team, and discuss some of the issues that were discovered when translating from a 2D map to a 3D environment using available software, for others interested in replicating this work
The Slow Show - Augustine (Short Film)
No full textThe output, 'Augustine',is a short film created with and for the band The Slow Show. Research process: Shot on location across the Slow Show European Tour 2015-16, the film collects concert performances of the band to the tune Augustine. Research insights: The production contributed to Booth’s knowledge of documentary and music video production, both in terms of production and production values and insights into how film is used on TV, in the press and online as an important aspect of music marketing. Dissemination: The film has been in international competition, and screened at the following international film festivals • Oxford International Film Festival 2016 • Long Island International Film Expo 2016 • Asbury Park Music and Film Festival2016 • Short Stop International Film Festival 2016 • Broken Knuckle Film Festival 2016 • Red Phoenix Underground Film Festival 2016. In addition the film won an award at the Indie Film Festival 2016 and was voted hbhap.com video of the day. The film has also appeared on C4 TV and on websites internationally
Drawing on experience: mature students and practical wisdom in art and design higher education.
No full textoai:lau.collections.crest.ac.uk:9165This paper analyses the narratives constructed by and between Chad, a post-Access to HE student, and myself, the inquirer, that represent some of her experiences during her BA (Hons) Surface Pattern course. Surface pattern designers are concerned with designing for surfaces and embellishments which could include wallpapers, fabrics, flooring, and packaging. This case study was part of a longitudinal study (2011-14) that sought to investigate the experiences of ‘non-traditional students’ in art and design higher education. The participants were studying on a range of creative degree programmes in various institutional contexts. Narrative inquiry was used to show the ways in which students reflected on and took stock of their educational journeys.
The analysis draws upon some of the notions concerned with phronesis (prudence or practical wisdom). Aristotle claimed that only a person of experience can practice practical wisdom, and a young person is unlikely to have extensive life experience, (Aristotle, Nicomachean Ethics, Book VI, Chapter 8). This discussion recounts some of the critical incidents within Chad’s story where I have noticed evidence of phronesis or at some points the absence of wise judgement. It is suggested that within the context of higher education mature adults sometimes make poor decisions leading them to act in ways that continue their sufferings. This is because they do not exercise their potential to act with prudence, (Aristotle, Nicomachean Ethics, Book VI, Chapter 5). Chad offers an explanation of why this maybe so at the end of her story where she describes the culture of her course as being very competitive and not conducive to her thinking and acting well for herself and others. Within the educational field of adult education at level three, four, five and six Chad’s account of her learning experiences triangulate with Williams (2013) who argues that some of the managerial processes of Higher Education infantise students
New territories of the filth dimension
No full textA solo exhibition of drawings and a ceramic embedded installation. This exhibition focused on allegorical drawings made in response to stories told to the artist by recent migrants to Chapeltown in Leeds. The exhibition was an opportunity to show both large drawn images that were designed to be seen in sequence, as well as to exhibit an installation that included specially designed and printed wallpaper, as well as fabrics and ceramics. The exhibition was also used to showcase a new set of specially designed cards that were used to help audience members generate their own narratives and there was a closing performance piece that was initiated with an artist’s talk
The follies of youth
No full textThe Follies of Youth was an exhibition of historical research and contemporary art commissioning by visual arts organisation Pavilion hosted by The Hepworth Wakefield. Three artists – Giles Bailey (based in London), Amelia Crouch (Bradford), Ruth Lyons (Cork) –produced work in response to three landscapes in West Yorkshire – Stapleton, Whitley Beaumont and Byram – listed in the account book of Lancelot ‘Capability’ Brown (1716–1783). Supported by a collective of producers, nicknamed ‘the follies’, the artists undertook field trips to the ruinous and industrial landscapes. In an attempt to recover Brown’s lost designs, the artists engaged the follies in rehearsing certain eighteenth century practices: of Arcadian poetic fantasy, walking etiquette and lime kilning
Spare rib and subversive stitching: feminist strategies to documentary film-making
No full textThe output is a creative project comprising a short, independent film and a paper. The film captures a conversation between two women about the influence of Spare Rib magazines and Rozika Parker’s book, The Subversive Stitch, on their sewing practice and their politics. Research Process: Prior to publishing her book, Parker was writing about the relationships between craft, textiles and art in the late 70s and this was situated alongside other feminist discourses within Spare Rib (such as work; sexuality; violence; control over reproduction; education). Rozika Parker’s narrative research methodology in The Subversive Stitch and the predominance of women’s narrative in the film make connections between both the content and formal aspects of both. One participant rediscovers her personal archive of Spare Rib, artefacts from an ‘analogue’ age, and reconsiders herself through the lens of her younger, more radical self. A conversation about shared learning experiences gives rise to the women’s individual journeys and the film nods to cross- generational feminism and women learning from our feminist and embroidered past. Research Insights: It is a practice-based research outcome that explores women’s narrative and its effect on both content and aesthetic aspects of practice across stitching and film-making. Therefore, the form and content of the film are informed by its subject and line of research enquiry. In tandem with the film, a paper, Feminist Strategies to Documentary Film Making, was also produced. This argues that feminist documentary film has often been excluded from dominant feminist film discourse in favour of those films employing non-traditional techniques of distanciation. The paper argues for recognition of documentary as important representations of political voices and feminist testimonies since the 1970s. Dissemination: Radical Film Network conference, Birmingham University, 2015. The Textile Society Symposium, Armitage Centre, Fallowfield, Manchester, 2015. The Process Continues, Leeds Arts University, 2015
Wigs
No full textThis output, 'Wigs', is a creative project that investigates the wig in its disembodied state through photography and collage techniques. The cultural iconography of wigs is deeply complex, offering an assortment of poetic associations and historical anchor points. Unpacking this complexity involves a critically-engaged, practice-based approach. Research Process: ‘Wigs’ has been informed by a documentary study into the vestiges and detritus left lying around in a red-light district in Manchester. Eyre became interested in collecting fallen hair pieces (artificial extensions, weaves, etc) as found objects that she regularly discovered in the street. These were graphic metaphors for what went on in the area, either as evidence of broken femininity, quite literally ‘fallen woman’, or as symbols of the underlying violence that the women risked working there. The project utilised wigs as a way of abstracting from the specifics of the sex industry in order to explore female sexual identity in broader terms. Research Insights: Confusion hangs over an abandoned wig. Amputated from their intended context, they trigger a very deep-seated sense of the unease. The minimal, forensic style of photography further emphasises their link to the uncanny. They are inert, they pose no danger; yet they look like they could unfurl, at any moment, and come to life. The photographs are titled according to the names given to the wigs by manufacturers. However, by trying to adopt certain personalities, they highlight their ambiguity, and speak of a lack of interior and the fragility of identity – in this case the representation of female desirability and sexuality. Dissemination:
Images from this project were exhibited at QUAD Derby as part of the Format International Photography Festival (2015) and at Leeds Art University (2019) under the heading ‘Copy/Cut/Paste’ with an accompanying interpretation text by collage expert Dr Freya Gowrley (University of Derby)
Grimsby School of Art architectural facade
No full textThe output is a design commissioned for the façade of the Grimsby School of Art building, in collaboration with Ryder Architecture and RMIG. Virgoe was responsible for the visual design. It was manufactured from perforated anodised aluminium. Research process The panel designs began as drawings, that were then reconfigured digitally, and produced as sheet panels. The process of creating an image through various sizes of perforation had previously been used for more organic, or photographic images. The geometric nature of the design presented new challenges both in terms of developing the digital designs and applying these to the panels. The perforated skin of the building is illuminated at night from behind, and as a result the flat schematic drawing becomes more illusory and three dimensional at night. Research insights The intention of the design was to convey something of the nature of the work that was going to take place in the building, and as such the design needed to be fluid and changing, rather than a distinctive image that would quickly become too familiar. The image was conceived as something that could express universal ideas about the creative processes and practices that the building facilitated. The design was equally a response to the potential of the medium and the site, along with the lighting that would be visible through the perforated sheets.Dissemination In addition to the building opening, the design was disseminated via Architects Journal (August 2015), Architects Data File (August 2015), blogs, including Refurb and Developer update (September 24 2015), the architect (Ryder) and manufacturer (RMIG) websites and the media
Precarious designers and the transformative potential of biopolitical production and the commons
No full textIn this paper, I will explore the potential of an autonomist and feminist Marxist approach that aims to transform the precarious working conditions of designers. For this, I am mobilising Michael Hardt and Antonio Negri’s notion of biopolitical production as one arena in which contemporary political struggles take place by way of the production of the common. I will think through the transformative potential of the common in relation to open design. Confronted with the continual precariousness and (self-) precarisation in this field, I draw heavily on the call for production and inventive resistance made by the Michel Foucault scholar Judith Revel. Finally, I link Revel’s call with the feminist economic geographer J.K.
Gibson-Graham’s invite to engage in an ethical praxis of being-in-common, which can foster de-precarising practices that have a transformative potential beyond the field of design
Inclusion in the art and design curriculum: revisiting Bernstein and 'class' issues
No full textStudents who have started their undergraduate degrees in art and design with an Access to HE diploma rather than A’ Levels and a Pre-BA Foundation Course can be described as ‘non-traditional’ because they have had different previous learning and life experiences. They are likely to be seen as mature and also to come from under-represented groups in higher education. This discussion revisits the work of educational sociologist Basil Bernstein in order to explore how non-traditional students with diverse backgrounds are at times excluded from the visible and invisible pedagogies of art and design higher education. Bernstein has described how seemingly opposing pedagogic models act selectively on different social groups, privileging the middle classes. Bernstein proposes that educational institutions construct curricula based assumptions about the currency of students’ skills and their access to resources such as time and space. By looking at the pedagogic devise of studio practice, which is often central to an art and design education, it is possible to see it as an example of an implicit invisible pedagogy which is framed by a more explicit visible one. Due to aspects of surveillance that are associated with an invisible pedagogy non-traditional students from backgrounds other than the middle classes are in danger of being misread by tutors. In turn these students are likely to misread the significance of studio practice as a means of being creative