International Journal of Creative Media Research
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Narrative Storytelling, Creative Flow and Designing a Methodology in Practice-based Research
No full textThis article focuses on my practice-based research which employs the artefact-exegesis model to write my novel, Kristal and Marg, exploring the impact of volunteering. It addresses approaches to methodology design for practice-based research, and the place for theory, practice and reflective evaluation within. It also focuses on creativity and flow and approaches to directing the creative process in practice-based research.
Informed by my own experience in industry and community immersed in volunteering and altruism, my practice-based research looks at capturing the impact of volunteerism through narrative storytelling. This article focuses on what practice-based research allows for that traditional research methods do not, specifically when measuring and exploring the impact of volunteering. The way researchers have measured the impact of volunteerism in the past has varied and the impact of volunteering continues to prove difficult to measure. Attempting to measure the value of volunteering hours in economic terms can be useful, but does it tell the full story? Through practice-based creative research, I have written a novel which attempts to fill the research gaps by telling the real stories of the impact of volunteering
Sketch 2 for a Time-Slip Installation
No full textSketch 2 for a Time-Slip Installation was created for a multi-modal artistic research project called BC Time-Slip (The Empire Never Ended) which began as a residency at Dynamo Arts Association (DAA), Vancouver in August 2016. BC Time-Slip is the first phase of a larger artistic research project exploring the discourse of decolonization in British Columbia from ethnographic, Indigenous and science fictional perspectives called The Skullcracker Suite. During the residency the DAA gallery was converted into a Special Investigations Room researching Philip K. Dick’s visit to Vancouver in 1972 and his stay at an experimental rehab community called X-Kalay. During the residency I organised and documented a program of public talks, lectures and screenings, and produced a series of 360° videos depicting Dick’s time in the city, myself playing the author. Sketch 2 takes Dick’s short story Colony (1953) as a way to draw correlations between the assimilation of life-worlds by alien simulation technology in Dick’s fictions and the European colonization of what is now British Columbia. The video is the second of two sketches for an exhibition in the future
What Are Students Doing When We Aren’t Looking: A Pilot Exploration of the Ways Students Interpret the Production and Risk Assessment Process when Working Independently of an Educator on Location Film Shoots
No full textThere is a gap in the knowledge in ways that educators understand how students relate to the risk assessment process when working independently on media practice film shoots in Higher Education (HE). This article maps the existing research in this area before going on to consider ways of closing the gap by exploring the findings of a pilot study. The results of the literature analysis reveal significant findings from health and safety literature of the construction industry (Lingard et al., 2015) as well as health and safety literature on HE chemistry lab work (Gibson, Schröder and Wayne, 2014; Hill and Finster, 2013) which both move the current field of film industry health and safety (H&S) literature and HE screen arts H&S literature (Kerrigan et al., 2011; Oughton, 2013) forward to explore a significant gap from which to conduct research. The article then examines the pilot study. Steeped in a hermeneutic phenomenological methodology, it utilises 360-camera capture technology, as a tool, to record the field and then re-immerse students back into the field using virtual reality headsets to re-live, reflect and re-experience their filming processes, alongside the researcher
Contemplative Photo-collage in Media Studies Pedagogy
No full textThis project demonstrates an arts-based photo collage exercise developed in the context of an undergraduate seminar on Contemplative Media Studies at the University of New Hampshire. While it is readily adaptable for non-educational contexts, the primary goal of the exercise is to slow down, interrupt, and move beyond students’ habitual patterns of social media-based news consumption. By integrating both analog and digital arts-based elements, the exercise serves as a type of counter-practice to the ideological biases of commercialized digital media systems. The news content featured in this demonstration involves a family of asylum-seeking Honduran refugees who were caught in a tear-gas exchange with U.S. Border Patrol agents in Tijuana, Mexico in November 2018. A primary goal of this project is to critically reflect upon the limitations of news reporting and consumption in the context of the digital economy. A secondary goal is to develop new, more embodied and/or material ways of producing and disseminating fact-based content. By integrating arts-based and contemplative methods, these exercises enhance mindful news consumption by moving beyond the binaries of the personal and the collective, the mind and the heart
Manipulative Verbs as a Research Tool
No full textThis Issues in Creative Practice Research blog reflects on the author’s own experience of using the manipulative verb technique to stimulate divergent thinking in ceramic practice. It explores the benefits and challenges of applying this technique, and reflects on the creative blocks which prevented it from being fully exploited
Pembrokeshire Coastal: Spatialising an experience
Get PDFSoundcloud link: Pembrokeshire Coastal: Spatialising an experience
An iteration of an ongoing practice research project that intends to realise educationally relatable techniques for production of spatial audio to wider audiences. This work focuses on the use of spatial soundscape as a framework composition technique. Working with loudspeaker spatialisation as a starting point rather than end mix, it proposes how the soundscape holds an approach for the inherent translation of spatiality for music. Alongside competing and opposing theoretical positions, it posits the value of soundscape as a necessary conceptual bridge for broader spatial music making
EDITORIAL INTRODUCTION: The Everyday is Every Day
No full textSpecial Edition Soundcloud Links:
Nikki Sheth / Mmabolela – A hybrid approach to working with ambisonics
Danielle Meunier and Philip Reeder / Returns
Tim Land / Pembrokeshire Coastal: Spatialising an experience
Adam Parkinson and Justin Randell / Lorenz Factor: an algorithmic improvisation
Lewis Wolstanholme & Francis Devine / josef: Spatiality as a Material Property of Audiovisual Art
Kasey Pocius / Piano Dreamscapes Ice-Flow Isolation - A case study in binaural mixing for multi-speaker arrays
Gary-Martin Rolinson / Practising Scales
Teddy Hunter / Yr Ogof: Site Responsive Immersive Composition of Bryn Celli Ddu
Iain Findlay-Walsh / 'Fifty-one aural selfies': capturing and sharing the space of personal listening
Tahera Aziz / Immersive Audio Storytelling: An Exploration of the Potential of Spatial (Multi-channel) Audio to Represent Stephen Lawrence’s Story
Editorial Introduction: Making and Faking the News
No full textIt seems an appropriate testament to our troubled times that there has been a groundswell of academic work examining “Bullshit”, as both epistemic category and political and social phenomenon. Philosopher Harry Frankfurt’s much-cited musing “On Bullshit” (1986/2005) paved the way for so many psychologists, sociologists, political scientists, media studies scholars and, indeed, art and design practice researchers with the now familiar opening line: “One of the most salient features of our culture is that there is so much bullshit” (2005: 1). For Frankfurt, who first crafted this phrase in the mid 1980s, there was a need to interrogate bullshit on its own terms, for unlike straight up “liars” – whose deceptive outbursts at least hew to a belief that they are in possession of the facts (and an understanding that they are deliberately subverting them) – bullshitters possess no such belief in, or concern for, anything resembling the truth. An “indifference to how things really are” (29), an invention of both facts and contexts “to suit a purpose”, a complete unconcern as to whether its fabrications are found out – “bullshit”, argues Frankfurt, “is a greater enemy of truth than lies are” (52-58)
[Making and Faking the News] Telling a Data Story well: Communicating Covid-19 Variants to a wide audience through a Generative Graphic System
No full textThis paper will discuss the ethical issues involved with designing scientific data to tell an accessible story, while aiming to stay true to scientific credibility. At the height of the Covid-19 pandemic, at the end of 2020, MSM and social media discourses were concerned with the “new” or “mutant” variant of Covid-19 (Boyd, 2020). This story about variants suddenly emerging added to the fears and anxieties around the pandemic (Luo et al, 2021; Mach et al, 2021). The UK government in secret Whatsapp messages as part of “Project Fear” appears to have planned to utilise these fears to ensure compliance with government-imposed restrictions (Badshah, 2023). Understanding the science, i.e. the evolving nature of genetic sequences (viruses) and how they are transported across communities, I argue here, could enlighten us to see these processes are ever present – thereby alleviating anxieties of the ‘one’ variant, and also changing behaviours by understanding the importance of keeping to hygiene concepts, for example
Language in a meme economy
No full textArtist Ami Clarke traces some of the complexities, multi-temporalities and scales, that coalesce around some new, and some very old power relations, that come of, and are revealed by, the technologies associated with the interdependent ecologies of social media, finance, and the environment.
Her work traces hyper-speculation that came of the semiotic boom, where the loss of the referent in both language and the economy is shared across the trending behaviour of neoliberal/free market dynamics in finance, as well as emerging media ecologies. Here, inconsistencies in claims of ‘fake news’ amidst rights to ‘freedom of expression’ converge in the shortcomings of colonial practices of extraction, and new hyper-networked digital colonialisms, as the futures markets meets behavioural futures across the interdependencies of a reputation economy that comes of online news and social media, and the forms of finance driven by this.
Pre-empting many of the conditions brought into sharp focus by the pandemic, she touches upon how the insurance industry reveals the catastrophic flaw of investing in the neoliberal myth of the market, as ‘unprecedented’ events become increasingly every-day. A state of contingency, that no longer promises an opportunity to ‘write the future’, but instead, is felt through the mechanisms of disaster capitalism as churning markets across both the financial sector, and the mediasphere, as a means by which to game not only who has the authority to speak, but democracy itself