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Work included in Itinéraires Fantômes Oracle Deck
No full textAn X artists' books publication, Itinéraires Fantômes: Oracle deck, a book by Alexandra Grant and Hélène Cixious, cycling around ideas raised in Cixious' writing, and collected in categories that include: those from below, those who fly/steal, who travel via portals, manipulate messages and symbols, and have superpowers. This is written in English and French. Artists include: Louise Bourgeois, Lewis Carol, Nanxcy Spero, Laure Provost, Luc Tuymans, Sara Barke
Contributions to a panel presentation on Archiving the past-related present in the interests of the future: a transmedia history of Glasgow
Get PDFA dynamic cross-cut panel of papers from co-founders of The Tenementals t for the Radical Film Network Conference in Madrid June 2024, platforming diverse and meaningful approaches to experimental documentary filmmaking, which is often referenced in the BDes Sound for Moving Image.
Argo's focus for the RFN was autoethnographic analysis of her creative practice research that explores gender/gestures and psycho-affective properties and cultural genealogy of a theremin and cello, and misogyny in music as well as dialectical analysis of fixed and reproducible texts of a rock band versus the ephemeral and disappearing nature of improvised music. Insights from this practice and the dialogues from the RFN are implemented in the School of Innovation and Technology's undergrate Elective Sonic Worlds: emotion in sound and experimental film, and so available to students across SIT.
(Argo authored: Section 1: Pentimento;
Section 2: fixed and reproducible texts (SONGS) of a rock band / ephemeral and disappearing improvised music; and
Section 3: Does cello queer a rock band? Gendering musical instruments / Rectifying power imbalance in sound")
The dynamic panel was arranged in a cross-cutting between Argo and three fellow academic researchers who also happen to be musicians, a recording engineer and a filmmaker:
• Professor David Archibald from University of Glasgow Film and Theatre department
• Dr. Robert Anderson a prolific drummer who published a PhD situated in Glasgow’s popular music scene
• GSA’s Ronan Breslin
Together we make up around half of the band The Tenementals. We are each presenting our own paper bringing to light the technically innovative methods, educational, and socio-cultural processes of composing, recording and publishing a History of Glasgow in 16 songs.
A key figure referenced in our album Glasgow: A History (Vol I of VI) featured in a song A Passion Flower’s Lament, is La Passionara Statue, one of Glasgow’s monuments for radical resistance of fascism during the Spanish Civil War. We sought to to immerse ourselves in the history of this war, by attending museums and researching with the community in Spain.
In this work, The Tenementals, a mix of experienced musicians and academics, are currently recording sixteen original songs that engage with philosophical approaches to the study of the past, and with the history of Glasgow itself. The plan is to release a double album, which through song, explores the radical side of Glasgow’s history, from militant Suffragettes, militant trades unionist and independence campaigners, famous Clydeside socialists and communists, celebrates the city’s culture of pleasure and excess, interrogates its ongoing entanglements with Empire and slavery, and speculates on where one might find hope in the city.
This paper examines the role of the cello in the recording of Glasgow: A History in 16 Songs. The songs reach across a varied range, from ballads to a glam-infused rock sound, and cello is a fundamental component, rather than merely providing short decorative flourishes or solos. The paper analyses the specific practices of how the cello part was developed from early “demo” fragments of original songs before morphing into a larger experimental sound design practice. Here, expanded techniques were used, such as rough scratching of the bow on the strings to emulate punk guitar riffs, or the building of multiple discordant layers of ghostly hovering on strings on a song about Glasgow’s slavery history. In the recording studio, the cello is even processed through virtual “plugins” charging it through an amplifier and at times imposing reverberant acoustics from real sites in Glasgow. The paper will situate this study within a wider exploration of how musicians such as David Bowie and Queen have combined the raw virility of amplified electric instruments (guitar, bass) and extravagant multitracked vocals across a wide frequency range, with the opulence of classical orchestra segments.
This panel consists of four papers related to an indisciplinary (Ranciere) artistic research project which interrogates the relationship between music and history. Walter Benjamin once suggested that the past does not break down into words but into images: this project asks the question, ‘What might the history of Glasgow sound, look and feel like if it broke down into song?’ In this work, a band of musicians and academics, are currently recording a series of songs that engage with philosophical approaches to the study of the past, and with the history of Glasgow itself. They have also been recording several classic anti-protest songs and creating associated artworks, including music videos (for example https://www.youtube.com/watch?v=FaCKKMDRnD0), photographs, creative essays, ephemera, and a feature-length film, thereby constructing an archive of their past-related present, in the interests of the future (Foucault). All four papers are presented by members of the band who take this project as departure points: Archibald theorises how their music might be understood as History; Anderson charts how photographers have documented the drummer figure in the city’s music scene; Argo reflects on the experimental use of the cello in the song-making and recording process; and Breslin offers a micro production study of the specific recording process for this project. As such, the panel reaches out from the songs to bring fresh auto-theoretical perspectives on the making of popular music and how a band can construct a transmedia history of a city
The Spy Who Went Back to Bricklaying
No full text'The Spy Who Went Back to Bricklaying' is a publication which brings together writing by Ned Donaldson and excerpts from a previously unpublished interview between Ned and writer, activist, and 1994 Booker Prize winner James Kelman. A selection of original artefacts relating to Ned’s work and life from Dr. Anni’s Donaldson personal archive can also be found in the vitrines.
It is part of 'Beyond the Forbidden Gate', a body of work by Joey Simons made in response to the latest phase of urban regeneration in North Glasgow.
Produced by Joey Simons for Glasgow Sculpture Studios in collaboration with designer Andrew Brash, the book series 'Beyond the Forbidden Gate' presents a suite of publications that tell previously unpublished and newly commissioned working-class histories, stories, and scripts that centre on North Glasgow.
The Mitchell Library’s Old Glasgow Room was a central gathering point for this project, with the space used by Joey and his collaborators to present archival materials and artworks that investigate the class forces shaping competing visions for North Glasgow. A series of talks, workshops, poetry readings and text-based works will also unfold across public libraries in Springburn, Woodside and Possilpark. These civic spaces, forever under threat, remain a vital space for culture to persist and flower amidst the developers’ plans
Peter Sedgley: Orbiting an Enigma
Get PDFPresenting five decades of the artist Peter Sedgley, this publication, produced to coincide with an exhibition (the last in Sedgley's lifetime) is anchored in signature trails of colour and light that usher the visitor into a central vista where Sedgley’s sense of the ethereal and the enigmatic; the sensual and the spectral are explored in paintings on paper, canvas, panel, light and kinetic form.
Conceived and curated in dialogue with Dr Omar Kholeif, a longtime trustee of SPACE, an organisation co-founded by Sedgley and Bridget Riley with Peter Townsend, the exhibition the publication's central essay seeks to illuminate and situate Sedgley as a significant progenitor of art and illusion
Depth and surface: women’s style as memorial, resistance and reverie in late 1970s and early 1980s Glasgow
Get PDFThis thesis examines women’s use of style as a tool of expression in late 1970s and early 1980s Glasgow. Drawing together a cross-section of recent critical theoretical perspectives, it aims to demonstrate that a consideration of style as an instrument of marginal biography can allow researchers to draw new historical knowledge from existing visual sources. In doing so, it intends to address the problem of women’s absence, reduction and subjugation in dominant narratives of Glasgow in this period, and lay the foundation for style’s use as a critical historical lens in new contexts.
Depth and Surface proceeds in four, illustrated case studies. In the first case study, it examines the development of women’s style as a reaction to experiences of slum clearance in Glasgow over the course of the 20th century, acting as a way to bear witness, with one’s body, to lost material landscapes and ways-of-life. In the second, it looks at the decline of public wash-houses in Glasgow in this period, investigating how forms of dress and comportment developed in these spaces came to have a bearing on the late-1970s and early-1980s phenomenon of ‘Glasgow style’. In the third, women’s patronage of two second-hand clothes markets in Glasgow’s East End is viewed as a symbolic, subversive reclamation of the heavily stigmatized trade, and an acknowledgement of marginalised women’s role in creating and sustaining it. In the fourth, the rise of the Glasgow-borne, low-cost department store What Every Woman Wants over the course of the 1970s and 1980s is taken as an insight into women’s reveries for new political futures in the period.
Together, these case studies chart women’s surfacing as subjects in the changing political, social and economic landscape of late-1970s and early 1980s Glasgow. It finds, here, that style is worthy of further historical attention both as a subject and method: presenting a way of interpreting the dressed body as a harbinger for complex, unseen narratives of marginal urban life
Practicing Landscape Field Guide No. 3: Landscapes of Energy and Extraction: Material Agency and Meaning
No full textThe Practicing Landscape Field Guide series has emerged from the online seminar series run by Reading Landscape in 2021-22, under the overarching title, Landscapes of Energy and Extraction.
In the first seminar in the series, Justin Carter and Onya McCausland were in conversation with geographer, Dr Danny McNally about their recent projects involving material extracted from the landscape. Dr Frances Robertson acted as a respondent for the session and an expansion of the content of each of their contributions is published as Field Guide No. 3 – Landscapes of Energy and Extraction: Material Agency and Meaning.
Avoiding the traditional monologic approach to presenting work, Justin and Onya built a shared dialogue framed by a small selection of relevant images used as way-finders. In keeping with their respective practices, their conversation was open and fluid, allowing ideas to emerge through conversation and exchange. This publication extends that approach, beyond the confines of the seminar, to explore various modes of engaging with materials as active agents within their art making processes
White Paper: Designing the perfect New European Bauhaus neighbourhood
Get PDFThe concept of Smart Healthy Age-Friendly Environments (SHAFE) emphasises the comprehensive person-centred experience as essential to promoting living environments.
SHAFE takes an interdisciplinary approach, conceptualising complete and multidisciplinary solutions for an inclusive society. From this approach, we promote participation, health, and well-being experiences by finding the best possible combinations of social, physical, and digital solutions in the community.
This initiative emerged bottom-up in Europe from the dream and conviction that innovation can improve health equity, foster caring communities, and sustainable development. Smart, adaptable, and inclusive solutions can promote and support independence and autonomy throughout the lifespan, regardless of age, gender, disabilities, cultural differences, and personal choices, as well as promote happier and fairer living places. The New European Bauhaus initiative gathers “beautiful, sustainable, and inclusive projects and ideas” to inspire a positive transformation around us. The New European Bauhaus 2024 Festival took place between 9-13 April. “Designing the perfect New European Bauhaus neighbourhood: New European Bauhaus meets SHAFE” was a Satellite Event of the Festival, held as an online workshop, organised by the SHAFE Foundation on April 9th, 2024
Innovation Strategies for System-level Transformation
Get PDF“Innovation Strategies for System-Level Transformation” explored how to implement innovation policies to drive regional transformation through a participatory, design-led process with policy practitioners, experts and academics. The interlinked workshops, held between March and May 2024, aimed to address the challenges identified in achieving transformational change through innovation policies, focusing on design, mobilisation, implementation, and evidencing success.
Across Europe there is growing interest in transformative innovation policies and how this can drive change and improved performance (economic and wider social/ environmental). The Scottish Government’s National Innovation Strategy, which emphasises making Scotland fairer, more equal, wealthier, and greener, provided the framework for exploring such challenges in Scotland. In this context, we organised workshops with several Scottish and international stakeholders, showcasing cases from international organizations on their innovation projects and strategy processes, to provide diverse perspectives and insights that could enhance Scotland’s approach to innovation.
The first workshop focused on policy design and stakeholder mobilisation. The second workshop explored policy implementation and evidencing change. The final workshop synthesised learnings, identified best practices and knowledge gaps, and made recommendations for future innovation policy. International partners collaborated with Scottish participants to co-design solutions and critically engage with the planned developments, aiming to maximize the impact and drive long-term transformation in Scotland’s innovation landscape
S H O PP I N G
Get PDFSauchiehall Street in Glasgow stretches 1.5 miles (2.5km) from the city’s central core to Kelvingrove in the west. It is criss-crossed by other streets, the names of which evoke flowers, gemstones, even Hope itself. In recent years feelings of the latter have been in short supply.
The street’s central section–city centre to Charing X–was once a pathway through a willow grove, better days perhaps, but considering shockwaves from the global financial crisis, the pandemic, the UK’s withdrawal from the EU and most significantly, diversification of shopping and recreational choices, for a street predicated on both, it is astonishing that its urban expression persists at all. Empty shop units and silent bars sit in clusters or monumental isolation, circa 80% of the buildings which, last century, housed some of the areas celebrated department stores are emptied.
There is an understandable nostalgia for landmark retail, and department stores especially. They frequently occupy prominent sites within provincial cities, providing legibility and expression of place, but it is useful to remember that, once upon a time, they might have absorbed the haberdasher, the milliner, and the perfumier, just as the supermarket consumed the butcher, the baker, and the candlestick maker. Sentimentality cannot insulate city centres from the impact of seismic shifts in seller and customer attitudes.
Landscapes of long-term vacancy and abundant brownfield offer opportunities for deep exploration. From ‘The Dutch Atlas of Vacancy’ (RAAAF, 2010) to Lacaton and Vassals ‘never demolish’ provocation, the latent capacity of empty and at-risk buildings is obvious. (Macklin)
Beginning with an initial study of Sauchiehall Street, an emblematic retail thoroughfare, this paper seeks to establish fresh perspectives on vacancy and sustainable development, from the inside out, and contribute multi-disciplinary perspectives to emerging debates and actions in this space between vacancy and the ruin (O'Callaghan, Di Feliciantonio).
S H O PP I N G is the title of a cluster of practice-led, or practice conscious, research activities undertaken by a group primarily interested in the value of interior space, its recent historical status, current significance and future potential. Written in this way, with a capitalised and mainly double-spaced letter sequence, it is intended to be read, or sung by the inner voice, to the tune of The Pet Shop Boys 1987 recording of the same name. It is also struck-through, an embellishment in acknowledgement of the impact that recent seismic external forces have had, and will continue to have, on traditional retail activity in urban centres alongside their interdependent neighbours in the fields of hospitality and entertainment. This negating line would ideally switch on and off, or flicker in the way that neon signs sometimes do
On Being a Respondent
No full textA conversation on the role of the respondent, within academic discourse, who is called upon to feedback and/or nuance texts presented by another. We discussed what it might mean to respond to a text/presentation from another? What it means, given the subject of Michael and Elizabeth's papers, to respond to texts that are intentionally fugitive and that consider the remoteness of otherness alongside our growing awareness of the entangled relation that actually sustains between ourselves and the 'more-that-other'. A more-than-other that is not a passive object of the human gaze, but a highly significant and pro-active one