Arts University Bournemouth
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342 research outputs found
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Screenwriting and AI: Emerging Theories, Modes, and Practices
No full textIn recent years, screenwriting has witnessed various developments in the use of artificial intelligence (AI), specifically generative AI (GAI). These emerging AI technologies offer novel ways to reconceptualise and problematise creativity and collaboration between humans and machines within the field of writing for the screen. As writers mediate between AI code and human narrative comprehension for developing effective storytelling, important ethical questions have become apparent around the creative process, bias, labour and copyright. Skilful as we are as a species in understanding the act of storytelling and detecting the limitations of AI systems, there are many questions that scholars and screenwriting professionals are looking to answer when approaching the boundaries of AI and GAI. This issue of the Journal of Screenwriting focuses on emerging theories, modes, and practices regarding the collaboration between humans and machines, across screen media and in international contexts. It does not wish to question whether AI is orthodox when applied to screenwriting – rather, it analyses the stakes raised by the partnership of human creativity and AI
Archiving Economic Afterlife: A Dialogue Between 3D Scanning and Drawing
Full text linkThe chapter explores the afterlife of mass-produced collectibles - Snoopy toys from 1999 McDonald's Happy Meals. Distributed globally, they attracted collectors who believed in their future economic value and fans for whom they held personal significance. Today, after 25 years, these once-coveted Snoopy toys are abandoned and sold in flea markets, car boot sales, and via online marketplaces for second-hand goods.
The work is focussed on an artist-made digital archive of 3D scans of these toys acquired from sellers and collectors across Hong Kong, the UK, Russia. The 3D models were reworked through creating custom textures, which attempt to highlight the gaps, mistakes, and absences in the economic environment around these objects and the patchy, changing, irregular, disappearing personal stories behind them.
We argue that exclusion of such objects from the mainstream consumerist cycles generates poetic absences that endow these objects with subversive potential. With their existence within an alternative mode of economic circulation, they challenge capitalist consumer behaviours and open up possibilities to reconnect with these objects, re-use them more poetically and more personally, also highlighting the potential of absence, mistake, and glitch in the processes of archive-making
The Moving Canvas Project Exhibition
No full textCaptivating fusion of dance, art and costume design at The Moving Canvas Project Exhibition. This exhibition showcases the innovation work of Pavillion Dance South West’s adult contemporary company Co-Evo in collaboration with researchers Jenna Hubbard and Adele Keeley from Arts University Bournemouth.
In 2023, Co-Evo dancers worked alongside the research team to create a unique performance where movement and drawing intertwined. Though collaborative exploration, the dancers designed their own costumes by drawing and dancing simultaneously, allowing their movement to inspire their artistic expression
Museum virtual tours as sequences of gaps: The Red Lodge Museum
Full text linkMuseum virtual tours are interfaces of interaction with archival spaces situated at the heart of the debate around the (in)accessibility of archives. Focussing on the case of The Red Lodge Museum in Bristol, we argue that drawing attention to the ‘insignificant’ - the transitional and interstitial spaces of both the virtual and physical tours - bring opportunities for decolonising the representations of history. Drawing from the works of bell hooks, Jack Halberstam, and Sara Ahmed, this paper examines the successes, failures, and strange joys of moving from a virtual tour to a physical space and back again.
Genealogically and technologically, a virtual tour inherits the imperialistic and global capitalist undertones of panoramic painting and photography, but discursively presents a well-intended call for accessibility. In the Red Lodge Museum, where the history of the place presents almost entirely a sequence of its possessors, this opens room for questions: how can we make a museum experience continuous, not focussed on these possession-oriented moments in time? How can we capture continuity in the museum context, or alternatively - how can we bring the gaps to the forefront in representing history?
The abrupt cuts in the transitions between the hotspots of virtual tours illustrate the gaps in the representation of the place’s history, which are also reflected in the patchwork-like organisation of the physical museum. In our experience of visiting the Red Lodge Museum, both virtually and physically, we wonder, “What happens when 'nothing noteworthy' happens?”
Referring to Jussi Parikka and Trevor Paglen’s conceptualisations of surface in 3d spaces, Tim Barringer’s work on panoramic gaze, as well as Annet Dekker’s nuanced approach to the intertwinings of the digital and physical archives, the paper will suggest an artistic approach towards interpreting the gaps in the museum virtual tours
The Ecological Imaginary in Literature and Other Media: The Nature of Fantasy
No full textFrom Gilgamesh to Gawain and the Green Knight, the Brothers Grimm to Grimdark, the natural world has provided the backdrop for Fantasy since its earliest iterations. The playgrounds of childhood are often a writer’s first Fantasy landscape and can develop into fully fledged storyworlds. Do readers of Fantasy seek out the genre for a taste of this unsullied environment? Is it nostalgia for the lost Edens of childhood, a way to escape, or to find resilience and inspiration? And in a time of Climate Emergency, is the nature of Fantasy changing to reflect the challenges it presents? Can the blue-sky thinking of the Fantastic provide us with a useful tool for addressing what the United Nations has called ‘the defining crisis of our time’? This is a timely survey of the environmental aspects of Fantasy, with a unique focus on Fantasy sites and the real-world impact of Fantasy texts across media
Deleuze's Oxygen Machine
Full text linkSince Deleuze’s suicide on Saturday, 4 November 1995, there have been a number of attempts to reconcile this event with the sense of vitalistic affirmation that pervaded his philosophy. This article questions the tendency to reterritorialise the event of Deleuze death in accordance with a Deleuzian orthodoxy, while taking particular issue with an all too ‘evidential’ account that was recently offered by Beaulieu and Ord. In contrast to this, our design fictional approach rallies images, anecdotes and constructive falsehoods in order to explore the intolerably sadomasochistic coupling of Deleuze to his oxygen machine, his umbilical attachment to Guattari, and his creative misuse of architecture (both philosophical and otherwise), in a bid to foreground the pluralistic, evential nature of Deleuze’s death – positioned, masochistically, as a beckoning for a people to come
Tony Fry and Liam Young: de- and re-futuring the powers of the false
No full textThis paper conducts a comparative philosophical analysis of the works of the speculative, design-fictional architect and film maker Liam Young, and the academic design theorist Tony Fry, focusing primarily upon their responses to questions of sustainability in the context of design and architectural practice, and their respective approaches to de- and re-futuring the Earth.
Whilst Fry's Design as Politics (2010) aims to highlight the urgency of environmental crisis and the implication of designers in this, its predominantly rational, absolutist and logico-propositional mode of communication distances it from an audience more attuned to affective, emotional, forms of exchange, and to imaginative modes of visualization. It is claimed here, firstly that Young’s project Planet City (2021), a multi-platform, design-fictional response to a very similar set of concerns, is better able to engage Fry’s intended audience, through its rallying of affective and fictional modes of graphical communication, and secondly that Fry’s overly strong commitment to a reality principle, and his call for methodological standardization in the context of design futuring, runs the risk of defuturing the more hubristic, imaginative and speculative responses that are nevertheless important to the process of ontological transformation
Screenscape: Immateriality, gesture and alienation in the digital image ecosystem
No full textDespite often being labelled and/or perceived as immaterial, digital photography is no less material than its analogue cousin. Whilst the variety and diversity of material forms once ubiquitous in analogue photography have decreased exponentially, a physical vehicle is still necessary for viewing digital photographic images. Most recently, this is the screen. The screen has become the predominate material form of digital images – in fact, we would not be able to see them without it. Many important issues that have arisen out of digital image culture such as the overabundance of images, the ease of accessibility and appropriation, questions of authorship, ownership, distribution and circulation have all been addressed in scholarship; however, the singular physical environment upon which all these things occur, has not. This article examines the consolidated materiality of the screen; the consolidated imagery and contexts that exists on it; and the physical gestures we use to access that imagery, exploring the effects upon our relationship with images and in turn, our relationship to and perception of the world
Accelerated ageing test (Oddy test) of additive manufacturing materials for cultural heritage use
Full text linkRestoring missing parts of cultural heritage (CH) objects, such as sculptures, archaeological artefacts, or decorative arts, typically marks the final phase in the conservation process. During this treatment, conservators rely on materials known for their ageing properties and lack of adverse effects on the historical item. As technology progresses, new methods and techniques emerge, including additive manufacturing
(AM), which has been employed in CH restoration since the early 2010s. However, questions within the
CH conservation community have arisen about the suitability of AM materials for this purpose.
This paper outlines the process and presents the outcomes of an accelerated ageing test on collected ceramic, ceramic-like, glass-like, paper-based and polymer AM materials. The Oddy test results suggest that some commercially available AM materials are suitable for conservation use. However, inconsistent results across different labs highlight concerns about the reliability and consistency of Oddy testing. This
procedure is an integral part of a doctoral research project focused on the use of additive manufacturing method to restore ceramic and glass archaeological artefacts. This research could benefit conservators of antiquities and works of art, museum curators and material scientists who would like to use the additive manufacturing method as a complementary restoration method for their conservation process or museum curation
AI at the fuzzy front end - creative iteration in design
Full text linkArtificial intelligence is a transforming design practice. This research explores human-AI interaction in relation to human centred design principles in early stage design projects. Using a qualitative workshop methodology, this empirical study took a multidisciplinary team of participants from a yacht manufacturer through a series of divergent, discover phase activities that were augmented by AI tools. The results demonstrated how the advanced capabilities of AI to rapidly analyse vast quantities of data could be purposefully implemented to enhance engagement. the role off facilitator as an intermediary between the AI and participants allowed the interface between human and AI to be moderated and provided insights into effective effective use of AI during the fuzzy front end