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149 research outputs found
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Imitate
Get PDFImitate is a body of twelve glass works that was exhibited at the exhibition Like a Rolling Stone which opened at the Museum Reich der Kristalle, as part of the Schmuck International Jewellery Fair, Munich (2017). The exhibition toured to Edinburgh, Scotland (2018) and Padua, Italy (2020). Imitate interrogates the capacity of glass to act as a medium of imitation. It experiments with the way glass can imitate materials and media including ceramic, paper, metal, wood, stone, plastic and semi-precious stones. Kelly situates this research in a lineage dating back to the 12th century, when Venetian glassmakers used imitative techniques to imitate semi-precious stones. She extends this historical method as a living mode of inquiry and experimentation, bringing new dimensions to the contemporary practice of glass
Forms of Inhabitation
No full textForms of Inhabitation is a three-monitor, site-specific video installation designed and produced by Sophia Lycouris for the Royal Botanic Garden Edinburgh (RBGE). It was installed in the Lower Temperate Glasshouse foyer and presented in the exhibition After the Storm, May 2017, which Lycouris curated on the invitation of the RBGE team. The exhibition explored themes of resilience and recovery as part of a series of events organised by the RBGE in 2017–2018 in response to the impact of Cyclone Andrea that hit Scotland in 2012. It comprised site-specific works by Lycouris, Kevin Dagg, Susanne Ramsenthaler and Mike Windle. The video installation comprised three films of improvised dance, two of 19-minute duration and one of 9 minutes, featuring dancers Adam Hussain, Suzi Cunningham and Helga Schram. It was accompanied by a one-off live performance event which took place during the opening night of the exhibition. Performer Mariola Albinowska and sound artist Clive Powell joined the three dancers for this event, which was livestreamed by filmmaker Iguácel Cuiral
The Lodestar Project
Get PDFThe LodestarProject is a multi-component research output produced by David Moore and Kate Davis. The output is comprised of 8 illustrations for a poetry pamphlet, a multi-media installation, a live event, an exhibition and a set of designed ‘advertising’ materials including badges, flyers, banners, 3 billboard-size images and 3 films. The output explored the cultural historyof the iconic Lodestar nightclub in Ribchester, Lancashire (1960–1984), and its legendary owner Margo Grimshaw (1928–). The Lodestar Project was commissioned by Andrew Grimshaw, a Ribchester local who had worked at the club and was the son of its owner. It was funded by Blackburn Chamber of Commerce, Blackburn and Darwen County Council and The Bureau Centre for the Arts, Blackburn. The output centered around a group of 8 illustrations that combined images made by Moore and Davis with poems written by the British poet Mark Ward in response to oral testimonies given by Margo Grimshaw. These were published as a poetry pamphlet titled Portrait in Black. A selection of these works was exhibited at The Bureau Centre for the Arts, Blackburn, 3–29 September 2017. The images were also developed and disseminated across Blackburn and Burnley as billboard prints, advertising banners, flyers and badges. Moore and Davis produced a short film, Lodestar (Space Odyssey), which they projected on the large digital screen at Blackburn Rovers football ground on 29 April 2017. This reached a mass audience in excess of 56,000. The output was thus disseminated through a variety of techniques that reflected modes of popular advertising which the club itself would have used in its day. This area of Lancashire has low levels of cultural engagement and as such, the research was an experiment in encouraging cultural participation by re-activating local history
Alternative Futures: Who Decides? The honest inclusion of community voices in decision-making
Get PDFThe following report is a call to action. It describes the outcomes from a research partnership between “The Ripple Project”, a Community Centre serving Restalrig, Lochend and Craigentinny, and the “Binks Hub”, a research group based at the University of Edinburgh.
This collaboration has highlighted both a strong desire for improvements in core areas – such as community and green spaces – and demand from the community that their voices be heard on their own terms. Community members feel excluded from decision-making processes, despite prior engagement attempts from local and national government. They feel that lip service is paid to their local knowledge and lived experience, but they are not able to set the foundational terms on which policies are formed.
Our work shows that different ways of working together are possible: ways that allow community knowledge to be brought to the forefront and which deliver more efficient outcomes that will have a much greater positive impact on the communities being served
Colour Design in Healthcare Environments
Get PDFThis portfolio documents two related pratice-led, colour research projects at the Royal Edinburgh Mental Health Hospital. This practice-led colour research employed architectural design knowledge and emerging on-site evidence to devise colour schemes and to make site-specific wall paintings within shared areas and circulation spaces. Project 1 took place in ‘Pentland’ dementia ward from February 2017 – February 2018, and Project 2 involved the main corridor and Andrew Duncan Clinic reception area from April – November 2019. Although guidance is available for care homes and hospitals, it appears to be applied often without professional design input that can take into account light conditions, views in and out, and the social and cultural setting. Observations included monitoring the sun path, light quality, and room usage. Hand sketches were effective in communicating the conceptual ideas with large test panels of candidate paint colours. Newsletters at regular intervals kept staff, visitors and carers informed of the project and invited questions. Two themes emerged, namely ‘destinations’ and ‘directions’. Carers emphasised a need for spaces that are more homely and sophisticated, and small places within the circulation areas where patients can sit with their relatives. Feedback from the users indicated that a strong red and patterned wall panel seemed to act as a beacon and be sufficiently memorable to direct the patients at the most confusing intersections. Incidents (conflicts and arguments) were substantially reduced since the installation. Patients would sit with relatives in the circulation areas, as well as within private rooms. Staff reported that the dispersal of the patients around the ward may have diffused tensions, and therefore reduced the number of incidents between patients and staff. The work has been disseminated through peer-reviewed written output while the colour design is experienced on a daily basis by the hospital community. The projects have been disseminated through academic outputs that challenge the prevailing ‘tick box’ approach to the use of colour in health care environments
Scripts
Get PDFScripts is a suite of four concert pieces that can work as a collection of short compositions in their own right or be played amongst other pieces in programmes of extreme and physically taxing music. At the heart of the piece is a real-time sound processing tool that applies sampling and DSP to each instrument individually and in highly varied ways. This tool responds to sound very directly; incoming audio pushes through a landscape of shifting parameters that reconfigure themselves with each note played. As such, the piece is very responsive. All sound spatialisation is ambisonic and can therefore be adapted to any sound system from headphones (for individual rehearsal) up to 16 channels. Scores for the pieces are very simply structured with minimal detail pertaining to what exactly should be played. The scores give scope for the players to adapt their performance to the context of the concert. It is this openness to adaptation that gives the piece its name. Players are asked to interpret their instructions and adjust their playing to the sonic context created by the computer processing, rather like the way actors use a script as the starting point for a performance (Cook, 2014). This means that a very deliberate and carefully formed concept for a piece can exhibit different qualities, colours and player response each time it is performed. The examples submitted show three Scripts alternating between parts of Michael Edwards’s piece for saxophone quartet called Hyperboles 3. Edwards’ piece is long and slow, and Parker identified moments in the piece where the Scripts could be used to change pace, position and concentration. They were configured to work seamlessly between parts of Edwards’s work, yet are distinctly different in approach and concept
Eidolon
Get PDFEidolon is a multi-component practice output comprised of live immersive performance, video, installation, virtual reality and a fully illustrated monograph with texts by Hood and Dame Marina Warner. The research explores the relationship between the human body and technology through a focus on the manikins used in medical training. Eidolon drew on a hybridity of artistic genres and techniques to explore elemental questions provoked by the act of simulating a human being. The output raised questions about the limits of human identity, the relations between natural and technological humanity and the role of machines in the construction of selfhood. Through its broad dissemination and engagement, the project brought the general public into spaces usually only accessible to medical professionals. It also prompted reflection amongst medical practitioners on the function of art within clinical settings. Eidolon was developed at the Scottish Centre for Simulation & Clinical Human Factors (SCSCHF), Forth Valley Royal Hospital, Larbert. Live performances were staged within NHS medical simulation centres around Scotland. It was integrated into a professional clinical learning module at the Royal Infirmary, Edinburgh and was well received amongst the medical community. The project has been presented in different iterations in national and international platforms and venues (Edinburgh International Festival 2016, The World Congress of Biomedical Ethics, 2016 and galleries in Stockholm and Madrid). Audiences for the live performance and installation were in excess of 3,000, and secondary audiences from social media were in excess of 64,000. The project was supported by a Wellcome Trust Arts Award (£29k), Creative Scotland (£5k) and the University of Edinburgh
Eraser Drawings
No full textThe output consists of a group of fifteen drawings. To make the works, Owen developed and applied a distinctive process involving the careful erasure of ink from found photographic images. Drawing usually involves making marks by adding and accumulating material (graphite, ink, etc.) on a surface. In contrast, Owen\u27s drawings are made purely by erasure; a gradual, irreversible process of removing the ink of the printed image by hand. This series was made using illustrated pages from books on cinema, usually large, ‘coffee table’ publications focusing on a particular genre, director or actor. The books were found and bought online, in bookshops and secondhand shops. In each drawing the central figure, usually an actor or director, is erased. This disables the Focal point of the photograph, bringing a new importance and directing attention to the peripheral details of the image. Drawings from this series have been exhibited in solo exhibitions at:• Ingleby Gallery, Edinburgh Art Festival, Edinburgh, 2016.• Kochi-Muziris Biennale, India, 2016. And in group exhibitions at:• Talbot Rice Gallery, Edinburgh, 2017. • David Totah Gallery, New York, 2018. • Gallery of Modern Art, Glasgow, 2019.Further dissemination of the research has taken place through public lectures given by Owen at the Kochi-Muziris Biennale, 2016, and GoMA, Glasgow in 2019. The Kochi-Muziris Biennale had an audience of 582,000 visitors. Twelve of the drawings were included in the monograph, Jonathan Owen, published by Ingleby, Edinburgh in 2016
Polterheist
Get PDFThis practice based output consists of a body of costume designs created by Emma Renhard for the original British fiction feature film Polterheist (2018). Renhard’s costumes created an original visual language for this film about gangsters, missing money and a physic medium. The costume design was produced on a budget of around £7K, within an overall production budget of £70K, and as such the research was also an experiment in how to produce high quality costumes within financial limits. The film premiered as part of the British Independent Film Festival, Leicester Square London 2018. It has been selected for a number of independent film categories, including Out of the Can Festival and Toronto Indie Horror Festival
Colour Strategies in Architecture
Get PDFThis practice-led research portfolio includes the book Colour Strategies in Architecture, original artworks and the design of nine installations of an exhibition that toured 10 venues. The research offers new insights into the strategic use of colour in architecture through field investigation of a series of buildings designed between the 1920s and the present day, by six architectural practices. New research methods have been established to make ‘close readings’ through observation of the colours used in the buildings, followed by an interdisciplinary discursive analysis of the palettes, location and extents of the colour. The fieldwork observations and documented palettes were synthesised with research from texts and photographic records. The proposed strategies are intended to be transferable into architectural design practice to promote a greater integration of colour within the design process. The use of hand-paintings and collage as part of a visual research methodology is suggested as a technique that embeds the development of new knowledge through making and designerly analysis. The method of production of these images became an inherent part of the research. The images are therefore both the research, and one of the means through which the research findings are communicated to the audience. Colour Strategies in Architecture has been published as a second edition in German, Farbstrategien in der Architektur