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Heavy Weather: tempestuous tales of stranger climes
No full textSince ancient times literature has been awash with tales of strange weather; accounts of nature’s real destructive power blending into mythology, fantasy and folklore. This new collection gathers the best stories of ecological upset, nightmarish meteorological extremes and inexplicable atmospheric phenomena from the nineteenth and early-twentieth centuries, when pioneering authors began to weave the otherworldliness of environmental disturbances into supernatural or uncanny experiences.
With stories from Algernon Blackwood, Herman Melville, Mary Shelley, Daphne du Maurier and many more, this foray into severe winters, stifling heats, roiling oceans and piercing gales offers the perfect read on a rainy day – or night
Scenes of Studio Practice (L’atelier mis en scènes)
Get PDFThe creative turn within geography has seen a number of returns to the artists’ studio as a site for exploring the vital, immanent, and affective relations that form these spaces of creative practice. Where interviews, observations, collaborations, with artists have directed attention to the non-representational, this paper approaches the studio as both a scene, and an atmospheric staging. Taking up broader discourses around the scenographic, it argues that scenes not only take account of the durational and compositional construction of studio spaces, but can be understood as a form of training and attunement through which participants are enrolled in the joint composition of studio atmospheres and registers. It directs attention to the agency that these compositions have in the production of the studio imaginary
Inclusivity and Equality in Performance Training: Teaching and Learning for Neuro and Physical Diversity
No full textInclusivity and Equality in Performance Training focuses on neuro and physical difference and dis/ability in the teaching of performance and associated studies. It offers nineteen practitioners’ research-based teaching strategies, aimed to enhance equality of opportunity and individual abilities in performance education.
Challenging ableist models of teaching, the sixteen chapters address the barriers that can undermine those with dis/ability or difference, highlighting how equality of opportunity can increase innovation and enrich the creative work. Key features include:
• Descriptions of teaching interventions, research and exploratory practice to identify and support the needs and abilities of the individual with dis/ability or difference
• Experiences of practitioners working with professional actors with dis/ability or difference, with a dissemination of methods to enable the actors
• A critical analysis of pedagogy in performance training environments; how neuro and physical diversity are positioned within the cultural contexts and practices
• Equitable teaching and learning practices for individuals in a variety of areas, such as: dyslexia, dyspraxia, visual or hearing impairment, learning and physical dis/abilities, wheelchair users, aphantasia, attention-deficit/hyperactivity disorder and autistic spectrum.
The chapter contents originate from practitioners in the UK, USA and Australia working in actor training conservatoires, drama university courses, youth training groups and professional performance, encompassing a range of specialist fields, such as voice, movement, acting, Shakespeare, digital technology, contemporary live art and creative writing.
Inclusivity and Equality in Performance Training is a vital resource for teachers, directors, performers, researchers and students who have an interest in investigatory practice towards developing emancipatory pedagogies within performance education
Research Methods - the basics
No full textResearch Methods: The Basics is an accessible, user-friendly introduction to the different aspects of research theory, methods and practice. This third edition provides an expanded and fully updated resource suitable for students and practitioners in a wide range of disciplines including the natural sciences, social sciences and humanities.
It is structured in two parts – the first covers the nature of knowledge and the reasons for doing research, the second explains the specific methods used to conduct an effective research project and how to propose, plan, carry out and write up a research project.
This book covers:
• Reasons for doing a research project
• Structuring and planning a research project
• The ethical issues involved in research
• Different types of data and how they are measured
• Collecting primary and secondary data
• Analysing qualitative and quantitative data
• Mixed methods and interdisciplinary research
• Devising a research proposal and writing up the research
• Motivation and quality of work.
Complete with student learning tasks at the end of each section, a glossary of key terms and guides to further reading, Research Methods: The Basics is the essential text for anyone coming to research for the first time.
New to this edition is free access to a set of digital resources. This contains case studies, to- do lists, quizzes on aspects of research related to the chapters in the book and useful PowerPoint presentations for lecturers
Heavy Weather: a creative intervention
Get PDFWeaving history, literature, and environmental humanities with sections of life-writing (travel-writing based upon various long-distance walks), this hybrid form explores narratives of Climate Change from the very earliest (eg, Ruskin's observation in the 19th Century) to the very latest (eg news reports from the summer of 2019). It is the culmination of a wide range of research from the archival to the experiential.
This was a creative keynote for the Gothic Nature symposium, University of Roehampton, September, 2019. It was edited and published in the peer-reviewed Gothic Nature journal in Spring, 2021.
Manwaring, K. (2021) HEAVY WEATHER: A Creative Intervention.
Gothic Nature. 2, pp. 285-294. Available from: https://gothicnaturejournal.com
Crossing the Line: from Alley to Gallery
Get PDFErratically embellished with sprayed stencils, logo-rich stickers, elaborate murals, and unintelligible doodles, our urban environment overflows with irreverent and unlicensed imagery.
Classic New York freehand and wildstyle graffiti has evolved, adapted, and atomised into a democratic and divergent forms of visual expression that is captured under the nebulous term ‘street art’. ‘It is characterised’, states curator Riika Kuittinen, ‘less by a visual style than by an approach to transmission: it is unfiltered visual communication, fluidly moving across the derelict buildings,bus shelters and hoardings of cities across the world.” Armed with attitude of irreverence, equality and freedom, it is in fact a new genre that mutates and morphs at the rate of a viral pandemic. Lacking a common aesthetic, street art, a term loathed by classic wall ‘writers’ speaks loudly to a passing population, even if it remains entirely obscure to most.
The exhibition asked a number of questions about the evolution of graffiti into ‘street art’, and more recently into ‘urban art’, by way of the alleyway and backwall. Where do such images truly belong now: in the alleys of our urban centres or on the white walls of the gallery? Can they belong in both? What happens when the urban calligraphy of tags and stencils is subsumed by the auction
house, and why do we feel a sense of loss when the raw energy of street art, of urban writing, is absorbed by the mainstream media, and effectively tamed. Why is that some of the best illicit art of the street is promptly ripped off the wall, taken out of its context, seized into private hands. In effect moved from the public wall to
behind a pay wall
Agreeing to be a ‘Burton Body’: Developing the Corpse Bride Story
Get PDFA story team’s journey on an animated feature such as Corpse Bride (2005) is similar to that of the audience. It is emotional, full of story and character, has astounding visuals – and it is unlikely you will have experienced anything like it before.
When agreeing to work on Corpse Bride, you are agreeing to wholeheartedly embody Tim Burton’s imagination. By signing the contracts, you accede to keep production secrets and leave your life at the door for the duration of your stay. In exchange, you enter the Burton world – you become a ‘Burton Body’, a crew member. You become dedicated to Burton’s incomplete vision, you enter the ‘dark, edgy, and quirky realm of the “Burtonesque”’ (Salisbury 2006: xviii), and with this agreement there comes glory ‘but also its own, unique set of difficulties, not least in the expectations that both studios and audiences now have of him and his output’(Salisbury 2006: xviii).
Sixteen years later I can reflect on my experience and the processes and write with hindsight. I hope to give a fair account of what it is like to be a ‘Burton Body’ and to explain what story development means on an animation feature. This essay provides an overview of how story teams and their ideas inform the final script, observing that the screenplay is not the beacon of light in stormy seas, but more like a large ship loosely anchored nearby
Out in the open and invisible: the city as archive in the essay film San Sabba
No full textIndependent filmmaking is often faced with difficulties. For the team behind San Sabba, the issue resided in the invisibilities embedded in the film’s location: a concentration camp within the city of Trieste. This article will explore how and why the writer and director of San Sabba considered Trieste as an archive of multiple histories, memories, and postmemory due to the historical findings the film is based on, and how silenced history informed a phenomenological examination of what a landscape can add to the collective memory. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention, this article analyses the historical data and considers the ontological qualities of the landscape as an archive where dominant narratives impact the understandings of present and past identities
E-textiles for Self-Expression: Participatory Making with Blind and Visually Impaired People
Get PDFThis research explores how blind and visually impaired (VI) people can engage with e-textiles in creative and tactile ways, by making interactive e-textile art pieces to tell their own stories. Touch, gestures used to interact with textiles and e-textiles, and association of meaning with objects are central concerns of the work, in the context of how different materials can evoke and be used in self-expression. The research focuses on how VI participants can design and make their own e-textile objects, bringing in ideas of empowerment and agency, and drawing attention to what characterises an effective ‘participatory making’ environment.
Three studies are reported. The first study observed practices at two schools for blind and VI children/young people to establish how ‘objects of reference’ are used within the classroom environment, and what other sensory stimulation is important. The second study involved two series of hands-on e- textile making workshops, at a charity for VI people, and at a contemporary art gallery, to explore how visually impaired participants can design and make personal e-textile objects. The third, a laboratory study, investigated what associations and gestures visually impaired participants used with e-textile sensors that had different textures and functioned in different ways. The research explored the potential of participatory making of e-textiles in terms of touch, personal association, accessibility, and creativity.
The research identifies some effective practices for participatory making of e-textiles with visually impaired people, including a modular approach to circuit-making. It highlights the importance of ownership of the process for the participants. It demonstrates that, although there is ‘no common language of gesture’ for touch-based interaction with e-textiles, conventions can be established through example or consistent use. It outlines the ‘lessons learned’ in working with blind and visually impaired people, which can inform other researchers, designers, or artists interested in participatory making
Out in the open and invisible: the city as archive in the essay film San Sabba
No full textIndependent filmmaking is often faced with difficulties. For the team behind San Sabba, the issue resided in the invisibilities embedded in the film’s location: a concentration camp within the city of Trieste. This article will explore how and why the writer and director of San Sabba considered Trieste as an archive of multiple histories, memories, and postmemory due to the historical findings the film is based on, and how silenced history informed a phenomenological examination of what a landscape can add to the collective memory. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention, this article analyses the historical data and considers the ontological qualities of the landscape as an archive where dominant narratives impact the understandings of present and past identities