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"The Beyond and the Better Way" by The Gorgeous Pouting Mr AR
No full textVinyl album record.
Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop “The Beyond and the Better Way” is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow’s (and Ireland’s) finest musicians and singers.
The songs explore OCD, politics, anxiety, grief, regret, rage, lost love but also reflect on joyous moments that define the transition from fearful child to fuck-you adolescence and finally reluctant adulthood. The album title song “The Beyond and the Better Way” is morbidly confessional however it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way
Navigating menopause through design - participatory pathways to innovation
No full textThe Chronology of a woman determines numerous transitions across her lifespan. Menopause is a transition that begins with subtle changes that may not be noticeable several years prior to menopause; yet impact on the ageing experience. Design and participatory approaches have demonstrated how we can collaborate to define and determine pathways that offer innovative solutions across social, work and health settings. ‘Design Your Menopause Life’ encourages autonomy, curiosity and support as a woman documents, diarizes, and expresses her experience with an awareness of support and empowerment through peers, technologies and professionals. This chapter will discuss the rationale to instigate, design, develop and deliver three concepts aimed at encouraging a call to women to create their journey as they navigate peri-menopause and menopause with an awareness of peer, and professional support through innovative digital and analogue tools and events. These solutions are conceived to offset and alleviate some chronic or age-related conditions enhancing quality of life and inform policy in work and social settings
Cultural Production and Legacies of Section 28
No full textLesbian, gay, bisexual and trans* culture in 1980s Britain was largely a culture of print. Group formation and consolidation was enacted through the production and circulation of fliers, pamphlets and ephemeral texts, photography and other forms of image making, and film and video distribution. This panel explores how Section 28 was an attempt to choke this material culture, and the forms of personal and political identification it produced. Outside of the context of schooling, the aim of Section 28 was primarily to starve LGBT groups of local authority support and funding. This ideological assault on material resources, combined with the denigration of LGBT culture in social and political discourse, had a profound and highly uneven impact on artists, writers and cultural activists. Some retreated or fundamentally changed course in their work, expunging sexual or bodily content in fear of prosecution; for others, the assault of Section 28 provoked an efflorescence of production of new texts and images, the creation of new forms of group circulation, display, and community gathering. This roundtable will draw on contributors’ research expertise in queer lesbian feminist cultures of photography and pamphlet production, cultural and political activist responses to HIV/AIDS and contemporary queer and trans print cultures to consider the impact of Section 28. Discussing examples from our own research in conversation with wider participants at the conference, we envisage this roundtable as an opportunity for intergenerational sharing and reflection on how responses to Section 28 in print, image and art production, might inform contemporary struggles against state assault on trans people and persistent institutional racism and homophobia today
Sustainable Voices – Longform Content for Insights (Student Partnership Project with Tom Gibson)
No full textThe paper considers the long-form content as a counter-proposal to the dominant form of social media. Through the generous support of the Learning and Teaching Department at The Glasgow School of Art, a series of podcasts were recorded that consider the open interview methodology and the long form content in delivery. ‘Sustainable Voices’, developed in a framework of the Student Partnership Programme, considers how climate literacy, sustainable art practices, and environmental challenges affecting the creative industry are thought through. The paper will reflect on the experience of making the first series of podcasts, and will examine how long-form content encourages thinking critically, synthesising information , developing a deeper understanding and allowing the formulation of a nuanced and advanced position to take place. Very relevant in recent conversations of consumption of information and content and effect in mental health and skill acquisition, the paper considers the longform as a potential antidote to delivery, one that improves retention and understanding and one that ultimately aids to develop both focus and a lifelong learning mindset. The paper will also consider how the long-form interview as such is a way to elicit knowledge in a more gentle and conversational way, and how this allows for expended understandings to occur with regards to subject matters that is not only expansive, but also presents itself to be not only a ‘wicked problem’ (Rittel and Weber) but also a ‘complex one’ (Hawkings and James).
The paper will discuss 3 podcasts, where students share their experiences on the expanded notion of Sustainability, how it affects and shapes their practices and how it allows notions of resilience to emerge.
The interviews conducted are with
Iris May & Gwendolin Kircali
Julia Ashe & Mimi Bhogal
and
Jane Karweick & Gretchen Hammell
GSA's Education Strategy 2023 to 2027Links to an external site. put at its heart ensuring that all the students are supported to succeed, achieve their potential, and make a positive contribution. The Scottish Higher and Further Education sector has set a priority theme to explore how providers of education can 'support diverse learner journeysLinks to an external site.' thinking about student transitions, community and belonging, skills and capability, and personalised support. In responding to these priorities, the theme of our 2025 Learning and Teaching Conference is set on 'Diverse Learner Journeys: Supporting Students to Succeed'
Supporting Effective Community Engagement through Participatory Design (SEE–PD): Repository
Get PDFSupporting Effective Community Engagement through Participatory Design (SEE-PD) is a practice-led research project led by The Glasgow School of Art’s School of Innovation and Technology. Funded by The Creative Launch Fund, the project explores how participatory design methods can enhance community engagement across Scotland’s public sector. This repository brings together a suite of creative tools developed through the project. It offers practical scaffolds to support more inclusive, thoughtful, and effective community engagement. Designed as both a resource and a provocation, the repository responds directly to challenges raised by those working in public services and institutions – including time pressures, capacity constraints, consultation fatigue, and a desire for greater internal alignment. We encourage users to adapt and build upon these tools in ways that suit their own context. Whether preparing for an engagement process, facilitating dialogue, or reflecting on outcomes, the resources are designed as flexible starting points to strengthen practice and inspire new ways of working
Evaluating and validating the Serious Slow Game Jam methodology as a mechanism for co-designing serious games to improve understanding of cybersecurity for different demographics
Get PDFWe present an evaluation of a Serious Slow Game Jam (SSGJ) methodology as a mechanism for co-designing serious games in the application domain of cybersecurity, to evaluate how the SSGJ methodology contributed to improving the understanding of cybersecurity for different demographics. The aim of this study was to evaluate how the SSGJ contributed to improving the understanding of cybersecurity for young persons between the ages of 11 and 16 years old who had no formal training or education in cybersecurity, and to validate and compare these results to previous work where the same SSGJ methodology was used with a different target demographic (i.e.,M.Sc. students with no formal training or education in secure coding). To this end, we engaged 23 participants between the ages of 11 and 16 years old for 5 consecutive days over a one-week period, in a multidisciplinary SSGJ involving domain-specific, pedagogical, and game design knowledge, and encouraged engagement in-between scheduled events of the SSGJ. Findings show improved confidence of participants in their knowledge of cybersecurity, for both demographics, after undertaking the Serious Slow Game Jam (from 41.2% to 76.5% for young persons, and from 12.5% to 62.5% for M.Sc. students). Free-text answers specifically indicate an improved understanding of cybersecurity in general, and one specific security vulnerability, attack or defence for a quarter of young persons, and the trichotomy of security vulnerabilities, attacks, and defences for three quarters of the M.Sc. students. Also, confidence in knowledge of game design improved for both demographics (from 47.1% to 82.4% for young persons and from 12.5% to 75% for M.Sc. students). The SSGJ methodology also successfully engaged both demographics of participants in-between scheduled days. Finally, two serious games in the application domain of cybersecurity are presented that were co-designed during the SSGJ with participants and produced as an output of the SSGJs
The Design Process in the PhD
Get PDFHow can emerging models of doctoral study help support architecture and creative practice?
Can doctoral study provide practitioners with a valid approach to expanding their understanding of personal practice, and to deepening and future proof practice thinking and agency? This paper aims to explore the potential for doctoral education to develop research for practice and to support the very development of architectural practice itself.
The formal education of architects has tended to end with the completion of professional accredited programmes, and at the point of entry to the profession. While providing a springboard into practice, the resulting trajectory appears of limited range. While CPD remains essential, few architects return to the Academy to develop specialisms or to interrogate and develop their own creative practice in a more robust and rigorous way. While the length of the formal education and a lack of funding have been seen as barriers to postgraduate and doctoral study, research degrees have often been focused on technology, history and theory where research activities and outputs more comfortably connect to accepted academic research norms.
But what can doctoral level study offer practicing architects, who see themselves first and foremost in engaged in a creative practice? How can creative practice in its many guises be embraced as a legitimate and vital form of research? Can that research be at “ zero distance” from the practice itself and provide new knowledge and understanding to support the sustained development to maturity and master
Group Exhibition: Advanced Contemporaries II, Ione and Mann Gallery, London, UK, 2025
No full textArtists: John Peter Askew, Phillip Illingworth, Maria Lalic, Michael Samuels, Michael Stubbs
Advanced Contemporaries II, is a group exhibition curated by the gallery and Paul Carey-Kent. This year’s edition brings together six artists whose work challenges conventions of representation to and which are enriched by their conversations with art history and contemporary culture.
The exhibition was conceived by Paul Carey-Kent to highlight and celebrate artists whose practices, spanning decades, are deserving of attention now, making this a counterpoint to all the prizes / shows / lists that are fixated on youth and/or the simple fact of having recently graduated from an art school. What, after all, does it mean to be ‘contemporary’? Is it linked to youth? 'Contemporary' is defined as ‘living’ or ‘occurring in the present’. The artists in this exhibition have been occurring in the present for over forty years, making relevant, materially fresh and visually exciting works around issues of historical formalism in painting and sculpture.
The two paintings I contributed are examples of recent works that include digital posters in relation to my usual techniques of combining poured house paints and tinted floor varnished with graphic signs
Objects, Memory, and Power: The Transformation of Intimacy in Virtual Heritage Spaces
No full textVirtual museums often prioritise access and digitisation over emotional engagement, frequently overlooking the nuanced, affective connections that physical heritage spaces can evoke. This has been influenced by culture and digital platform power, in addition to the cognitive bias of this moment. This article addresses that gap by introducing the concept of digital intimacy, defined as the emotional resonance that emerges when digital environments are designed to preserve personal memory, attachment, and embodied subjectivity. Through a hybrid methodology combining autoethnography, critical inquiry, and digital spatial analysis, the study explores how virtual representations of domestic objects and spaces can replicate, translate, or disrupt intimate experience. Drawing on comparative data from a personal domestic environment and The Glasgow Tenement House Museum, the research examines how physical and virtual museum spaces can be combined to create affective meaning. It argues that digital intimacy is not merely a technical effect but a curatorial and ethical imperative—central to rethinking how memory, care, and lived experience are communicated in virtual heritage spaces
more than a feeling...
No full textSolo exhibition at The Beacon Arts Centre, Greenock, 16.05.25-20.06.25.
Our lives, work and experiences are increasingly mediated – and distorted – by a digital world of images stripped of their materiality. As Julia Kristeva has noted, the modern age is one where history - and so memory – is both entirely absent and completely present; available in a constant stream at the push of a button and dislocated from our technologically-mediated lives entirely. In response to this I made a series of 10 paintings and 27 etchings where I fore front the tactile, the handmade and the intuitive following a Logic of Sensation (Deleuze). My subject-matter draws from the wanderings of the unconscious and subconscious, exploring the transient impressions of memories and dreams. In this research I have drawn upon the work of French artist-psychiatrist Fernand Deligny who identified the origins of technological society in dependency on “technique” – making with intent, control, consciousness.
My short film VENTILATOR was screened at the opening reception 24.05.25 and again during the Artist's talk and tour on 11.06.25