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Early Modern Songscapes, English ayres & their dynamic acoustic environments, website
Get PDFReview of a scholarly website, on the topic of Early Modern Songscapes, English ayres & their dynamic acoustic environments, to be used as research tool
Event Horizons
No full textEvent Horizons a body of large-scale photographic works, first exhibited in Boundaries: Doppelgänger at the Ladislav Sutnar Gallery, Pilsen, Czechia, in 2025. Comprising 30 photographs, 18 of which formed the large-scale installation in Pilsen, the project brings together analogue photographic traditions and contemporary digital environments.
Martin Newth’s black-and-white photographs are paradoxically rooted in both history and the digital age. Although visually resonant with “hard-won” landscape images associated with figures such as Ansel Adams, produced through physical effort in remote terrains, these works are made without leaving home. Each landscape is sourced from the artificially constructed worlds of contemporary computer and video-console games. Using an antique 10×8 camera aimed directly at a television screen, the project shifts the locus of authorship from the roaming photographer to the teams of game designers whose AI-generated terrains emulate the “almost real”.
Conceived during the Covid lockdowns, the series extends a homemade, materially experimental approach to both process and chemistry. Drawing on online sustainable photography communities, Newth uses household materials and garden plants, including rosemary, coffee and vitamin C, to produce the developer chemistry for his negatives. Long exposures, ranging from two to thirty minutes and made on partially fogged, out-of-date photographic paper, deliberately slow the frenetic speed of gameplay and embed fingerprints, dust and light leaks into the final prints. These artefacts foreground the physical act of making and create a layered dialogue between the real and the invented, the analogue and the digital.
Alongside the monochrome landscapes are tightly focused colour images depicting the domestic ingredients used in the DIY chemistry. These micro-studies provide a vivid counterpoint to the enigmatic game worlds and draw attention to the site of production: the home. Taken together, the works explore materiality, time and place, inviting viewers not to connect with a distant landscape but to reflect on processes of construction, technological, chemical and imaginative, and on how images mediate our understanding of environment and place
Form Follows Fuel - 14 Buildings from Antiquity to the Oil Age
No full textModernists believed that “form follows function”. Form Follows Fuel shows that in fact energy has been the biggest influence on the world’s architecture throughout the history of our species. The availability of energy under different fuel regimes — including human labour, firewood, coal, oil, gas and renewables shapes architecture at all scales, from what gets built to how its doors hinge.
The book is the first to quantify energy inputs for a range of buildings worldwide and across the historical record. In the process it throws up both detailed challenges and practical solutions to today’s ecological crises, highlighting the aspects of today’s buildings that make architecture responsible for 37% of human climate-changing emissions, and revealing the enormously lower impacts of historical alternatives to today’s default building practices.
The book shows that shift to fossil fuel, which started in the seventeenth century, came to be the most consequential move in the history of architecture as well as in human history in general. This brought about remarkable wealth for the built environment and at the same time unprecedented dangers for our planet, as evidenced by the exacerbating climate emergency.
The book consists of 14 accessibly-written case studies, illustrated with beautiful and revealing new measured drawings of each project by John Joseph Burns. Each chapter focuses on a single structure in a particular historical context, sometimes contrasted to similar buildings, from subsistence farming to advanced global capitalism. The chapters analyse the consumption of embodied and operational energy in these buildings, and also discuss questions of recycling and adaptive reuse. They complement precise descriptions with hard numbers on materials and construction, using robustly-sourced approximations where exact figures are not available. The case studies rely on both published research and the authors’ own calculations and allow systematic comparison across different global regions and historical periods.
Cases include architectural icons such as the Great Pyramid of Giza, the Baths of Caracalla, the Mausoleum of Qin Shi Huang, the Seagram Building, and Terminal 1 of Kuala Lumpur International Airport, as well as common types such as a pre-modern stone house, a late-nineteenth-century tenement, and a modernist panel block. Examples are taken from different regions of the world, including ancient China, pre-Columbine Mexico, and modern Europe. The book is an important contribution to architectural historical research, written for academics and building professionals as well as for a general audience
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No full textWork in Progress exhibition from members of the SofD
–S–H–O–P–P–I–N–G– research cluster
Glasgow From Above - A Snapshot of the 21st-Century City
No full textThis publication traces Glasgow’s transformation since the 1999 Glasgow City of Architecture and Design Festival, documenting 25 years of urban regeneration through detailed analysis and high-quality drone imagery. Bridging academia and industry, this interdisciplinary project examines the socioeconomic landscape that has shaped the city’s post-industrial development into the 21st century. Insights gathered from consultations with key policymakers and stakeholders are presented in an engaging, accessible format, making this book both a widely appealing visual narrative and a significant research contribution to Glasgow’s contemporary evolution.
Offering a historical perspective on Glasgow’s post-industrial landscape, the book highlights key Victorian-era buildings alongside structures built since 2000. A series of carefully curated aerial images capture the city’s appearance in 2025, illustrating changes within the city centre and surrounding neighborhoods. The regeneration process encompasses new architectural developments, public realm improvements, and enhanced connectivity through bridges, roads, canals, and river links. A combination of photography and commentary maps transformations in key areas, including the commercial Broomielaw district, the Blythswood area, and the Merchant City. Additionally, newly developed districts such as Sighthill, Dalmarnock, Laurieston, and Tradeston contribute to discussions on contemporary urban renewal, highlighting the role of modern design teams.
The text also explores Glasgow’s socioeconomic shifts, examining how these changes have influenced architectural typologies. Key themes include the evolving role of architects within design teams and the rise of innovative construction methods that now shape the city’s built environment
“A bringing Together”
No full text“A bringing Together” is an essay and chapter of 'A Social Process of Unknowing Yourself in Real Time': Work on Conversation. An attempt to find form for conversations that unfolded with practitioner-in-residence Kate Briggs.
Collecting responses, dialogue, exchange and new writing produced as part of writer and translator Dr Kate Briggs' residency in the School of Fine Art at The Glasgow School of Art, A Social Process of Unknowing Yourself in Real Time restates Gilles Deleuze and Claire Parnet's questions 'What is a conversation? What is it “for”? In a life? In a practice? In a pedagogical setting—like an art school?'.
Kate Briggs was in practitioner-in-residence for one year, hosted by the MLitt Art Writing, 2022-2023, and worked with staff and students to consider the site of 'conversation' and practices of conversing, an artfulness requisite to both life and teaching.
'A Social Process of Unknowing Yourself in Real Time': Work on Conversation is edited by Dr Kate Briggs and Dr Laura Haynes, Programme Leader MLitt Art Writing
Imagining a City
No full text‘Imagining a City’ is a programme developed by Laura Guy in partnership with the Common Guild as part of the research project ‘Remapping the ‘City of Culture’ through LGBTQ+ Cultural Production', supported by the Carnegie Trust and the Glasgow School of Art.
'Imagining a City’ looks back across two decades of queer and trans cultural activity in Glasgow from 1980 to 2000, a period bookended by the Criminal Justice (Scotland) 1980 Act (which partially decriminalised homosexuality in 1981), and the repeal of Section 28 (2A in Scotland) in 2000, three years before England and Wales. Marking the midway point between these dates is Glasgow’s designation as European Capital of Culture in 1990, a pivotal moment in the city’s history, which instigated a period of confident, culture-driven regeneration, and shaped the character of the city’s civic identity.
Guy’s research reexamines this period of cultural growth through the lens of concurrent queer and trans cultural production. Much of this activity deployed arts and culture to respond directly to the onset of crises surrounding HIV and AIDS, and advocated for the needs and rights of the LGBTQ+ community.
Guy is working with invited collaborators who include artist and researcher Steven Grainger, Senior Lecturer in Art History at Newcastle University Fiona Anderson, curator and writer Taylor Le Melle, and researcher, writer and artist Evelyn Whorrall-Campbell to bring this material into conversation with the present, exploring current cultural infrastructure, self-organising and its impact on contemporary civic identities.
With The Common Guild, ‘Imagining a City’ unfolds initially through a closed discursive session in December 2024 with Fiona Anderson, Taylor Le Melle, Evelyn Whorrall-Campbell, who respond to the idea of queer and trans infrastructure through discussion of their own research and practice alongside invited participants. Through provocations focusing on archives of HIV/AIDS cultural production in the North East of England (Fiona Anderson), practices of building just infrastructure in the arts (Taylor Le Melle) and trans political horizons through returns to the1990s (Evelyn Whorrall-Campbell), the informal group discussion will reflect on how infrastructure limits, is worked into, and is reimagined through queer and trans practice.
A public session, ‘Inventing vocabularies’ with Laura Guy and Steven Grainger, will follow on 27 February 2025. In parallel, Grainger’s site-specific poster project ‘Power from Things Not Declared’ which maps significant locations in Glasgow’s queer cultural history will be situated across the city from 27 February – 27 March.
Finally, a display of ephemera, archival material and selection of publications related to the exhibition Read My Lips: New York AIDS Polemics at Tramway in 1992 traces interventions within Glasgow’s public realm and is presented in The Common Guild library from 27 February – 27 March
Hours
No full textIn August 2013 a group of seventeen scholars, artists and organisers made their way to Raasay, a small island off Skye, for a short residency, responding to the legacy of 6th Century Irish monk Colm Cille. A month later the group re-gathers in Glasgow, to give their creative responses over an afternoon event on 11 Oct 2-5pm at CCA, and in an exhibition at the Mackintosh Museum. Work will then travel onto London Street Gallery, Derry~Londonderry, for an exhibition opening 30 November, showing all the presentations from the UK and Eire that make up Colm Cille's Spiral.
'Convocation' is part of the Derry~ Londonderry City of Culture project 'Colm Cille's Spiral' www.colmcillespiral.net, and is one of 6 projects across UK and EIRE that creates an artistic engagement with significant sites along once-vital perimeters and sea routes, including Lindisfarne, Derry~Londonderry and Bradwell-on-Sea.
Colm Cille's Spiral is a Difference Exchange project in partnership with The Centre for Late Antique and Medieval Studies, at Kings College London.
Colm Cille’s Spiral is part of Creative Futures, a Creative Scotland talent development programme which aims to promote the professional development, capabilities, connectivity and ambitions of Scotland’s creative practitioners and organisations.
Book work was made in response to an open call for zines and publications made in Skye, Rassay and Lochalsh for inclusion the National Library of Scotland's centenary exhibition as part of the Skye Zine Library and Making Publics Press.
The work on the project is concerned with the notions of time and place. Making a single picture on each of the canonical hours, which mark the divisions of the day in terms of periods of fixed prayer at regular intervals an attempt is made to connect with a time that has passed. Each hour and each division of the day is characterised by conditions. Conditions of light and conditions of activity describe and organise each day that passed and is to come. The monks that followed this strict structure did so with the intention of allowing for themselves the opportunity to venture on devotional pilgrimages each day. The series of pictures attempts to do the same. The photographic gesture is subject to a strict schedule that occurs every three hours from the first light to the darkest hour. Light and subject matter follow the passing of the time. Each picture is made by reversing a photographic negative and backing it with a plate of solid sterling silver. Dense and heavy, each picture attempts to comment on a set of conditions that surrounds both the photographic gesture and the monastic life. Both are a pilgrimage – and as such both are acts of faith.
Bone fragments, sea shells, stones and quartz crystals were collected throughout the residency and brought back. As with every memento these too speak of an absence and a presence at the same time. Each object was selected, collected, removed and brought back to function as a relic of practices that are migratory and subject to the passage of time
When is a Mirror not a Mirror? A Hybrid Piece for ZOOM orchestra and Room Orchestra
Get PDFIn the text score and the photomontage film documentation for "When is a Mirror not a Mirror?", the Glasgow Improvisers Orchestra Global GIOFestXVII Hybrid Piece for a ROOM orchestra and a ZOOM orchestra https://youtu.be/3y-pPHwpQkc?si=JqKU1nfRAl4f-Hqc , a dramatic attention is drawn to the uncanny distancing of digital bodies versus physical bodies (both the people and their sounds). The work opened with the theatre and room orchestra in pitch black darkness, with a bold dancerly performance from the hands of a ZOOM performer, as if he was a silent cinema star. These ZOOM hands conjured the sounds of the ROOM orchestra, while his own voice was muted:
"One ZOOM player has a camera on, is full screen (mic off)
ZOOM player moves/dances/gestures to “conduct” the ROOM orchestra
(anyone/all ROOM orchestra plays, but if conduction is markedly spatial (a digital body pointing at a specific player, respond to that)"
Eventually his voice emerged too, in syncrony with his mouth movements - I ask the audience "Does this digital body who was just seen (previously unvoiced) feel more real/present/material when they can sound?"
In the GIOFest XVI 2024 Hybrid Piece, we needed the ROOM orchestra to see the ZOOM orchestra – so we had a large television monitor facing the orchestra. Documentation shows that even the players players placed right underneath the projection screen often peered up above them, implying that the ZOOM orchestra had this looming, almost corporeal pronounced presence from the cinema screen. For When is a Mirror not a Mirror? I wanted to emphasise and enlarge that difference by having zoom players SOLO on screen, taking up the whole screen (for the first sections).
Themes and questions asked in the performances include:
“Tele-presence / tele-distance”
an image of a digital body on ZOOM is transmitting gestures that activate sounds of the physical bodies in the ROOM
(Emphasising the elevation of the projection screen ZOOM orchestra as above the ROOM orchestra - like a spectre)
All free, together.
FUSION of digital bodies, and physical bodies
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Do those physical bodies who were just heard (previously in darkness) feel more centred when they are lit?
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Do those physical bodies who were just heard (previously in darkness) feel less like an accompaniment when they are lit?
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Do these digital bodies feel more spatially simultaneous with the physical bodies when they appear together?
Influential concepts stemmed from film sound theory and from telematic performers' research into myths and archetypal role models:
“They say when the copper pheasant cries for its mate it can be consoled if one puts a mirror before it…” Constance Cooper, actor/composer/musician in GIOGlobal Session 2024, referencing The Pillow Book, written by Sei Shōnagon in the year 1002. https://dn720003.ca.archive.org/0/items/the-pillow-book/The%20Pillow%20Book.pdf
The ghosts of Silent Cinema were breathed into life, or voiced by orchestras… (see Carl Dreyer’s The Passion of Jean d’Arc (1927) / Dario Argento’s Suspiria (1977) scored by progressive rock band, Goblin)
Vivian Sobchack – the Audience is/has a Body (eyes and ears perceiving), the Film is a Body (the director’s eyes and ears perceiving) https://link.springer.com/chapter/10.1057/9780230294851_12
Vivian Sobchack’s theories about Fleshing Out the Image: Phenomenology, Pedagogy and Derek Jarman’s Blue (1993) makes me think of cinema spectatorship/audience identification with stars - as the image of the boy in the prelude to Ingmar Bergman’s Persona (1966), reaches out touching the face on the cinema screen – the audience has a Body… the film is a Body.
According to Laura Marks, the Audience is a Body, the Film is a Body, the Screen is the SKIN of the Film Body…
In Steven Wurltzer’s chapter in Sound Theory and Sound Practice (Altman, 1992) “She sang live, but the microphone was turned off: The Live, the Recorded and the Subject of Representation” he recounts how unsettling it was when the illusion of “liveness” in Whitney Houston’s Superbowl halftime show faltered – it ruptured binary notions of “live” or “lipsync”. Wurltzer established a grid of:
the Temporal Simultaneity versus Temporal Anteriority (LIVE/PRE-RECORDED)
Spatial co-presence versus Spatial Absence (SHARED SPACE/SPLIT SPACE)
The inception, advocacy and impact of the Geneva UN Charter on Sustainable Housing (2015–2025)
Get PDFResearch paper (UN ref. ECE/HBP/2025/Inf.2) was commissioned by the Office of the Executive Secretary of the United Nations Economic Commission for Europe (UNECE), Geneva and prepared by Prof. Brian Evans of the Glasgow Urban Laboratory of the Glasgow School of Art, the Geneva UN Charter Centre of Excellence, United Kingdom of Great Britain and Northern Ireland. The paper provided a significant evidence statement of research and impact to support an international expert seminar (online- 25 March 2025) organised by the Secretariat to the Committee on Urban Development, Housing and Land Management of the United Nations Economic Commission for Europe in collaboration with “Craft”, the Department of Architecture and Urban Studies, Politecnico di Milano and two Geneva UN Charter Centres of Excellence for Sustainable Housing hosted by University of Geneva and Glasgow Urban Laboratory of the Glasgow School of Art. The seminar output produced a paper (UN ref. ECE/HBP/2025/3) on housing affordability and sustainability for a ministerial meeting as part of the 86th Session of the Committee on Urban Development, Housing and Land Management, Geneva 8-10 October 2025.
Paper (UN ref. ECE/HBP/2025/Inf.2) sets out a chronological review of the Geneva UN Charter on Sustainable Housing (the Charter) with an accompanying analytical and summative commentary. The paper covers the period from 2005 to 2025 in three parts describing three phases of work.
(i) the intense interest in and need for housing policy and practice across the territory of the United Nations Economic Commission for Europe (ECE – the Commission). This widespread interest generated support for the creation of a shared policy and an impetus for its
intent.
(ii) the implementation and delivery of that intent through a programme of advocacy over a 10-year period from 2015 to 2025.
(iii) the impact and international reach of the Charter in terms of its mission within the ECE and throughout its member States and concludes with insights and conclusions that are both retrospective and prospective.
The Geneva UN Charter on Social Housing has had a significant impact on the approach to sustainable housing throughout the 56 member states of the territory of the United Nation Economic Commission for Europe. The Charter is a clear and concise document with a core mission to provide shelter for people, that is affordable, sustainable and secure. It has had the support of successive Ministers from Member States, Executive Secretaries and numerous professional bodies dedicated to improvement of the lived quality of people’s lives and the quality of their homes. The Charter remains a current and valued reference document within the discussion of sustainability and affordability of housing purpose and legacy internationally.
Paper (UN ref. ECE/HBP/2025/3) was adopted by ministers at the meeting of 8th October 2025