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149 research outputs found
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Casting Shadows: A graphic adaptation and poetry inspired by the work of Robert Louis Stevenson with links to accompanying resources for students and teachers
No full textA graphic adaptation of Robert Louis Stevenson’s novella, ‘The Beach of Falesá’ by British artist, Simon Grennan alongside two poems also inspired by the story by Samoan/Aotearoan poet Selina Tusitala Marsh. The adaptation is the outcome of the AHRC funded research project, Remediating Stevenson: Decolonizing Robert Louis Stevenson’s Pacific fiction through graphic adaptation, arts education and community engagement. The book contains a wordless graphic adaptation; a summary of the story in modern English; ‘Uma’s Sestina’ and ‘Uma’s Vilanelle’, by Selina Tusitala Marsh; an illustrated biography of Stevenson and his relationship to the Pacific by Jack Brougham, as well as an outline of, and link to, teaching resources developed by Scotdec for use in Scottish classrooms at Curriculum for Excellence Level 4
poeMS: an anthology by people living with multiple sclerosis
Get PDFpoeMS: an anthology provides unique insights into the experiences of people living with multiple sclerosis (MS). The anthology derives from the Poetry and Multiple Sclerosis study, a doctoral project undertaken by Georgi Gill in the Centre for Creative-Relational Inquiry at the University of Edinburgh. In the study, nine participants, all of whom have MS, attended online poetry workshops with Georgi who also has MS. We read, discussed and wrote poems together exploring different aspects of their lives with the condition.
MS can be very difficult to describe to others; some of its symptoms are invisible (fatigue; cognitive disfunction; sensations of numbness, pain or tingling), while motor symptoms and the mobility aids that they may necessitate can be misunderstood, leading to negative social outcomes and discrimination. The workshops and the resulting poems gave us opportunities to be heard and understood and, importantly, to build creative communities together. Readers living with MS may benefit from this sense of shared similarity and community in poeMS: an anthology.
The poems reveal participants’ reflections of their embodied experiences of MS; interactions with doctors; how MS affects their social and family connections; and the ways in which their sense of self has been impacted by, and continues to adapt in response to, MS. poeMS: an anthology presents these insights together in conversation with one another. As such it is a valuable tool for doctors and carers treating and supporting people with MS, and also for friends, family and the wider public.
journeyMan
Get PDFjourneyMan is a collection of three compositions for mobile phone and ambulant listener. The journeyMan system uses the sensors on contemporary smartphones to propel the piece forwards, turning the listener into an active performer of the piece. The first piece (journeyMan for galleries) was created for use in art galleries and was specifically composed to accompany an exhibition of paintings by Christopher Orr in January 2015, hosted at Talbot Rice Gallery in Edinburgh. The piece mapped the listener’s heading to paths through the work and detected whether the listener was walking or not. As people moved to each painting, the piece would move along with them. It would then hover inplace when standing still and looking at images. The second piece (journeyMan for archives) was commissioned by the Conference on World Affairs and used segments of the conference’s extensive archive as source material. This important record of public and political opinion spans the entire history of the conference which began in 1948. Lectures and panel discussions that could have mobile-phone related themes were selected. Valerie Plame Wilson’s session on spying for the CIA finds itself juxtaposed against Tom Imboya talking about Africa’s nationhood. Questions about the future of art are pitted against panels where the role and responsibility of the media is challenged. Using these speeches makes a general reference to surveillance capitalism and may remind the listener how smartphones run free with our personal information. The final piece is called unsettled and oversensitive. This title helps explain a response to the potentially pernicious nature of some of the apps and operating systems that sustain our mobile phone economy. The piece was designed both as an application for solo listener but also works as a performance piece. It was first presented in Edinburgh in February 2018 at St Cecilia’s Hall
Silhouettes en Dentelle
Get PDFSilhouettes en Dentelle is a series of eight transparent tailored jackets, designed by Burkinshaw. The jackets were made in response to historic ideals of beauty presented in the collection of Renaissance portraits at the Scottish National Portrait Gallery. Burkinshaw’s research explores the ways in which contemporary fashion design can learn from changing historical perceptions of body-image and ideals of beauty. Challenging normative approaches to design by directly addressing questions of gender and body shape through design and production process, it invests fashion design to stimulate discussion around contemporary issues of diversity within the fashion industry – an industry that has historically been notoriously impervious to diversity.The work was the centrepiece of the exhibition Beauty by Design; Fashioning the Renaissance at the Scottish National Portrait Gallery (2014–15), the first exhibition of contemporary fashion design to be held there. The exhibition was initiated through The Diversity Network, a UK- wide research network addressing diversity in fashion practice, that was established in 2011 by Burkinshaw in collaboration with Professor Caryn Franklin, a renowned Fashion Commentator and co-founder of All Walks Beyond the Catwalk. The exhibition was a major public success, receiving over 146,000 visitors, and has initiated reassessment by the gallery of its curatorial and educational strategies. Silhouettes en Dentelle was expanded and invited for inclusion in several international exhibitions at prestigious venues: The International Centre for Lace and Fashion, Calais, France (September 2016 – March 2017); The Bonnington Gallery, Nottingham, England (February – April 2018); The Shanghai Museum of Textiles and Costume, Shanghai, China (April – July 2018); Venice Design 2019 as part of the Venice Biennale, Italy (May – December 2019)
The Story of the Fallen Cone
Get PDFThe output is a collection of eight prints (each 20 x 30cm), which is the outcome of practice-based research into printmaking processes – particularly etching – and expanding the potential of children’s book illustration by combining etching with colour. The output expands traditional printmaking methods and materials, in particular dry point etching. Everitt was keen to retain drawing through etching as the primary mode for children’s book illustration. The research was conducted over a period of nine months between January and September 2017. The prints combine multiple techniques, including drypoint etching, monoprint, watercolour and drawing. They were made to accompany a short story for children that was written by the New Zealand author Vibhusha Delamore. Titled The Story of the Fallen Cone, this story is aimed at young children (ages 3 to 7) and tells of a pinecone who encounters various animals within a forest, including a crow, a small bug and a hedgehog, and reflects on the meaning of its life through these interactions. The story explores aspects of ecology, origin, growth, nature and life cycles, identity, belonging and interpersonal relations
Re-Created Pictish Drinking Horn Mount
Get PDFThe output, a re-created Pictish drinking horn mount, is a bespoke silver mount fitting, hand-made by Jennifer Gray. The output is the result of Gray’s research investigation into the re-creation of historical artefacts in order to bring new visibility to, and understanding of, material processes and techniques that are now forgotten or little-known. The design was inspired by early medieval objects in the collection of the National Museum of Scotland (NMS). The work was commissioned by the National Museum of Scotland (NMS) and The Glenmorangie Company as part of The Glenmorangie Early Medieval Research Project, which set out to re-examine objects from the period c.300–900AD in collaboration with artists and designers.The mount was presented at the exhibition Creative Spirit, at the National Museum of Scotland, Edinburgh, 5 January – 24 February 2014. It was subsequently exhibited at the All Makers Now? conference at Trelissick House, Truro, England, 10 – 11 July 2014, and the Journées Particulières, at the Glenmorangie Distillery, Tain, Ross-shire organised by Louis Vuitton, Moët, Hennessy (LVMH) 20 – 22 May 2018
A Place is a Space Remembered
No full textA Place is a Space Remembered consists of four monumental patinated and painted bronze sculptures. This public artwork addresses the identity, history, geology and economy of the Deux-Caps region in France through the use of sculptural symbols that are both meaningful and absurd. It is permanently installed within the courtyard of the Maison du Site des Deux-Caps, a venue situated near the the village of Audinghen, France, a key site in World War II. The work was commissioned in 2015 through the ‘Nouveaux Commanditaires’ programme, a prestigious French organisation that has commissioned over 300 artworks across Europe, working with internationally recognised artists including Vito Acconci, Ugo Rondinone and Erwin Wurm. This output belongs to Hunter’s longstanding investigation into the contemporary practice of public sculpture, particularly in relation to collective remembrance and war memorials
The Rime of the Ancient Mariner
Get PDFThe BASCA-nominated Rime of the Ancient Mariner is a 3-act site-specific opera for large ensemble, SATB choir, and children’s chorus involving multi-staged performance and video projection, performed in the University of Edinburgh’s Old College Quad and Playfair Library.A collaborative project by composer Dee Isaacs, writer Gerda Stevenson, theatre director John Bett, and film-maker Ian Dodds, the project was conceived and produced as part of the University of Edinburgh’s Music in the Community programme in collaboration with teachers and pupils of Leith Walk Primary School and two professional musicians from West Africa, Gibril Camara and Aboubacar Sylla. Isaacs and Stevenson retell the story of Coleridge’s epic poem The Rime of the Ancient Mariner for our times. The opera explores the issues raised by the current refugee crisis in partnership with 25 university music students and 60 school children in a multi-lingual primary school with a high proportion of immigrants in an area of deprivation within the City of Edinburgh. In this multi-cultural environment, the participants’ experiences became an integral part of the production process, allowing a complex of interactions to arise through the media of music and theatre. The video and scenic components were devised to immerse both audience and participants in contemporary experiences of flight and diaspora. The production process was monitored and a final evaluation report was produced, allowing the stake-holders to assess the social and educational impacts of the project
Uppland
Get PDFUppland is a 30-minute research film tracing the complex relationship between landscape, displacement and the global extractive industries within, and beyond, sub-Saharan Africa. The film documents a new-town called Yekepa, designed and built by and for a mining company prospecting for iron-ore in the late 1950s, that exploited and transformed the indigenous landscapes of Yeke’pa. The film represents an original collaboration between an architect and a filmmaker. This research took them to the remote highlands of Liberia, once a thriving mining community, now a concrete ruin in the West African bush. Exploring the town, the researchers discovered promises of prosperity, abandonment and forgotten injustices. They revealed insights about western architecture, the remnants of colonialism, and the spiritual costs of mining. The main outputs from this work are a number of international screenings at major film festivals, architectural biennales, as well as contributions to an international conference in Sweden. Educational rights to the film were acquired for the distributing to international research institutions and universities across Europe and North-America. ‘It is a galling portrait of the harvesting of African resources and the damage done to both land and people... Uppland avoids most of the pitfalls of the narrated, exploitation documentary genre, its disembodied voice- over never becoming too authoritative, outraged, or self-indulgent – a rare achievement in this ever-expanding field.’ Danny Hoffman, Africa’s a Country, May 2019
Tombeau idéal de Ferdinand Cheval
No full textThe output is an installation comprised of a group of 90 black and white photographs. The subject of the work was Postman Cheval’s Idéal Palace, a monument built by Ferdinand Cheval in Hauterives, France, between 1879 and 1912. Through a selection of natural, cultural, architectural and institutional motifs, the installation displayed the monument’s myriad of forms and translated its ‘architecture of images’ into an exhibition form. Cheval drew upon imagery assembled in world expositions and reproduced as printed matter. Froment’s method reversed Cheval’s process, reconverting sculptural forms into visual images, as though visually dismantling the building piece by piece. The vast ensemble of photographs in turn created an environment of its own, providing the viewer with a stage from which to re-imagine the monument. Conceived as a large photographic survey, production took place over two years. The research was supported, produced and shown internationally between 2014 and 2017. It has been presented in 4 international solo exhibitions and 2 group exhibitions. Total audience figures are in excess of 700,000