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“How ‘green’ is my school?” – Co-Researching Primary School Learners’ Experiential Understanding of Sustainability Education
No full textWhile few studies have captured primary school learners’ understandings of sustainability education, there is a lack of co-research with learners on how they recognise and interpret their lived sustainability education experiences in relation to their school’s specific approach. This thesis has explored pupils’ reflective accounts of their sustainability education experiences through reflexive and design-led approaches, as part of a designed co-researcher engagement. Involving two small primary schools in Scotland and New Zealand as case studies, the participatory and collaborative research aimed to raise learners’ awareness of their existing sustainability education in their everyday schooling. Responsive to exploring how sustainability education is embedded in schools, walking interviews with teachers invited place-based reflections on existing pedagogical practices. Additionally, interviews with education stakeholders from across the public and third sectors were undertaken to reveal surrounding policy and contextual challenges. These practitioner perspectives contextualised each pupil’s place-responsive and time-bound sensemaking. Methodologically, the diary method, complemented by creative engagement with learners, cultivated an interplay between reflexive and dialogic, private and shared, as well as individual and collective co-research spaces. These were vital for a transformative learning experience to emerge in the field as learners reflected on their personal opinions, values and understandings of the somewhat abstract topics of climate change, sustainability and education. Creatively co-researching with learners through diary methods, creative dialogues, letter-writing, and visual mapping, the findings reveal insights into 8-to-12-year-olds’ strong sense of place and belonging towards the school grounds, community and lived institutional culture around sustainability. With the research based in schools that are already highly engaged with learning for sustainability, and mirrored in learners’ creative work, the findings illustrate how their experiences are grounded in schools’ context-specific, place-responsive and relational approaches to sustainability. Learners did not explicitly refer to knowledge gained from subject lessons but identified sustainability-oriented learning in the informal times, places and encounters in-between classes. Thus, the learner-centred Participatory Action Research nuances current understandings of how young learners experience a school’s sustainability-oriented engagement within and beyond the curriculum, specifically in contexts of more climate-supportive education policies in Scotland and New Zealand. Practitioners’ reflections importantly acknowledge the persistent challenges that continue in practice despite a shared school’s commitment towards prioritising a holistic embedding of sustainability education. Its impact on learners, however, as found in this study, emphasises what can be learned from learners' subjective and tacit knowing of sustainability education in school-specific contexts. As for considering whole-school approaches through a community of practice lens, implications are derived from the often-hidden impact on pupils’ learning experiences at the informal times, in places and encounters in-between lessons and beyond, as this is how, when, with whom and where learners see sustainability education enacted as learning in the in-between - every day
The Gorgeus Pouting Mr AR album launch and performance
No full textA live showcase of select tracks from the album by The Gorgeous Pouting Mr AR "The Beyond and the Better Way".
Venue: St Vincent Bowling Club, Finnieston, Glasgow.
Support acts:
The Tenementals
Gus and Fin
Salt
Shot Balows
Summoning the Genius Temporis: The Time and Place for Arts-Based, Creative Policy Making to Further Social Justice
Get PDFThis paper considers how conceptions of time might affect the transformative potential of arts-based and creative approaches to policy making. It draws on a project that employed the arts to tackle place-based health inequalities in North Lanarkshire, Scotland, arguing that conventional understandings of time as linear can be limiting. Space, time, and mattering are explored in relation to social justice through a montage of excerpts of creative and academic outputs, reflective diaries, conversations, and ongoing participatory action research in various underserved communities. The paper concludes that when we stay true to the essence of the creative process, rather than insisting activities lead to contrived outcomes, deep experiential learning unfolds
Huguette Caland: imagine/otherwise
Get PDF“The madness that spun me into Huguette Caland’s art the first time around felt as if falling off a rollercoaster headfirst into a mountain of frosting. Surrendering to the sumptuous curve of pink hues, they gradually began to tessellate forming an orbit, a tender crossing of blue.”
Lebanese-born artist, Huguette Caland (1931–2019) was a path-breaking figure in late modernism. The only daughter of the first Lebanese president, Bechara El Khoury, she produced a singular body of art that spanned media and continents. Working for more than five decades, her art is recognized for its embodied aesthetic and its unique sensuality.
In this searching critical biography, author and curator, Omar Kholeif, disentangles the seeming madness, velocity, and the interiority of Caland’s life.
Both an epistolary memoir and a biography, Kholeif, interleaves the affective experience of encountering the artist over a period of 18 years, as readers are summoned on a journey through clouds of bristling color. Here, Caland’s fields of light are set to lyric prose and poetry, fashioning a scene for looking at and experiencing the erotics of art anew
New Directions in Musical Collaborative Creativity: The Glasgow Improvisers Orchestra and the Theatre of Home
No full textThe COVID pandemic brought numerous challenges for people working in creative contexts.
One such example was the Glasgow Improvisers Orchestra (a critically acclaimed and prolific international ensemble), which began twice weekly online workshops at the start of the UK lockdown in March 2020. The group quickly grew, collecting over 100 musicians from around the world who were interested in maintaining contact via improvising on a virtual platform, Zoom. This book explores the nature of the online sessions, investigating psychological and social benefits and the creative breakthroughs achieved during these sessions. With a particular focus on technology and identities, the book sheds new light on the nature of creative activities and their pivotal role in sustaining and enhancing communities in musical and other contexts. Ten chapters explore topics such as: an overview of digital music approaches, an investigation of how improvisations begin and end, the unique context of the online sessions, the integration of audio and visual stimuli to produce audio-visual compositions, and new types of creative activities. How improvisation, and in particular, online improvising can be used to foster a new sense of community while offering new possibilities for experimentation, communication, community engagement, education, new virtuosities, health, and wellbeing is explored. The book also investigates implications for education and health, emphasising the importance of new technologies and their potential to produce significant creative breakthroughs. It points to a way forward for new types of technologically mediated community creative engagement
'With a spaceship at the end': Genre Hybridity in Copenhagen Cowboy by Nicolas Winding Refn
Get PDFWhile genre hybridity in television and cinema is nothing new, Copenhagen Cowboy (2023), the six-episode Netflix series co-created – with screenwriter Sara Isabella Jønsson Vedde – and directed by Danish auteur filmmaker Nicolas Winding Refn, is remarkable for the way its mixture of genres is both a continuation of the hybrid approach already established in Refn’s cinema work (and in his first streaming series, for Amazon Studios, Too Old to Die Young [2019]) and a kind of meta-commentary on it. Copenhagen Cowboy was pitched to Netflix as a continuation of Refn’s Pusher trilogy, a series of grittily realistic gangster films set in Copenhagen’s criminal underworld. However, with the series Refn also wished to introduce elements of other genres, including science fiction: as he told Netflix, the series would climax with ‘a spaceship at the end’. Although Refn has described his psychedelic Viking adventure Valhalla Rising (2009) as a ‘science fiction film’, this comment seems to reflect more the creative process involved in making it than the narrative presented on-screen; Copenhagen Cowboy represents his first explicit foray into the realm of science fiction. However, it is science fiction of a particular kind: superhero science fiction and I discuss the series here as, ultimately, a superhero narrative; ‘ultimately’ because its nature as a superhero text is only truly revealed in the final episode
Group Exhibition: Common Ground, Laurent Delaye Gallery, Folkestone, UK, 2025
No full textThe painting of mine chosen for this group exhibition by Laurent Delaye Gallery reflects a wider historical link and understanding toward abstract painting which offers both a commonality with concrete and constructivist art forms, whilst antagonistically questioning its values and premises.
Common Ground gives a particular visibility to the discipline and philosophy of abstract/concrete art forms as this historical genre has been of central importance to the gallery over the years, and many collaborations have come from it. Collaboration here is intended for for those artists who continue to experiment in the concrete/abstraction tradition with the new generation represented in this exhibition renewing the enduring question of the relationship between scientific cognition and aesthetic perception. Concurrently, all the artists add an extra dimension to the central themes of concrete art by not only examining formalist structures, but also melding the poetic and the imaginary within their compositions.
Artists: Fabio Almeida - Paul Atkins - Kate Beaugié - Katrina Blannin - Rosalind Davis - Fiona de Bulat - Drew Edwards - Justin Hibbs - Caroline List - Bérénice Mayaux - Jason Oddy - Cathy Rogers - Anna Silverton - Bob and Roberta Smith - Michael Stubbs -
Jessica Voorsange
Empire Retold: other voices from the British Empire Exhibition
Get PDFEmpire Retold: other voices from the British Empire Exhibition
17 July – 9 August 2025
Garnethill Gallery
The Empire Exhibition of 1938 was a major international exposition held in Bellahouston Park, Glasgow. Its purpose was to showcase the achievements of the British Empire, promote trade, and strengthen imperial bonds. It attracted around 13 million visitors during its six-month duration, yet today there is so little evidence remaining that most people are unaware of its existence, even if they regularly visit Bellahouston. Whilst overshadowed by the Second World War, the Empire Exhibition remains a significant historical event and continues to be relevant to the study of British social, cultural, economic, industrial, and political history. However, there is now a crucial need to reassess narratives of the Empire Exhibition from a postcolonial perspective.
This exhibition highlights the voices of people who were not widely represented in the official histories and legacy of the event, alongside contemporary Glaswegians, reflecting on their own connections to Glasgow, colonialism, anti-racism, and identity.
Empire Retold: other voices from the British Empire Exhibition aims to encourage links between traditional historical perspectives and contemporary understandings of the Exhibition and its legacies. The exhibition is accompanied by a mobile app “Empire Retold” which allows both critical and playful re-readings of history, on site in Bellahouston Park
Infinite Loop: Disruption and Similarity in the Act of Design with Machine Learning
Get PDFAfter being invited by the editors Stefanie Schneider and Hubertus Kohle (LMU Munich) to contribute a chapter to their book, Similarity: Concepts of the Digital, Jon Emmony and I conceived the idea of a conversation between ourselves and Chat GPT (as a collaborator) based on our project Infinite Loop (2022). The book, Similarity: Concepts of the Digital, centres on the idea of Similarity as an elementary phenomenon that manifests itself as the correspondence of objects on the basis of shared characteristics, and Due to its complexity, the conceptual system of similarity is embedded in a dynamic interplay of culturally shaped and individual perceptions that must continually be recontextualized. This volume brings together perspectives from the natural sciences, the humanities, and the arts, and shows how similarity is operationalized algorithmically and how similarity-generating patterns become productive within the digital image. This project is overseen by the DFG ( Deutsche Forschungsgemeinschaft (DFG), the German Research Foundation) and is part of a priority programme “The Digital Image” which examines, from a multi-perspective standpoint, the central role attributed to the image within the complex process of the digitization of knowledge. It is located within a nationwide research network across Germany, the aim is to develop a new theory and practice of computer-based image worlds
The House of Inspection
No full textThe objection takes place in a tungsten-lit room when it’s dark outside. It begins when everyone is seated, arranged at a central table. The chairs are forceful and once in position the participants feel a crushing burden to abide. They have circled to unwind the object and the object’s subject and this is the point where the subjects object. Within these walls, in seclusion, a real-life drama is to be enacted. They have gathered to present and debate a paradox: the paradox of the relationship between an object [its constituent components] and its history and effects [the story or plot attendant to its existence and consistency]. All at this point are pragmatists—they have answers and believe that solutions probably exist. One member stands to define the conditions for the animation of a material object in words. This member contributes that all words should start with the object. That language—visceral in its description—should inhabit the object. They believe that the rhetoric which presents the object is what gives it a life in reality. That the ritual that narrates the story constructs the object. But there are objections. And the objections build; they build and build to fuel the thick coal smoke above their social ritual.
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