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Developing an approach to compassionate feedback
Get PDFOn 4 December 2024, we heard from speakers from institutions around the globe who have developed innovative and effective approaches to assessment and feedback. Presenters provided practical advice and guidance to using the Advance HE Framework for Enhancing Assessment to support student success. Over two sessions, host Vic Stephenson, Senior Consultant (Education) at Advance HE was joined by ten academics discussing how the Framework for Enhancing Assessment can support successful student outcomes by:
- developing strategies, policies and practices which put students at the core;
- embedding effective staff training and development;
- innovating assessment design to ensure it is inclusive and future-focused
Scream for Me Glasgow (2024)
No full textDeveloping an unhealthy interest in hair (the hairy, the hairless and hair that strikes out on its own), Scream for Me Glasgow (2024) is a tribute to the beautiful hair of the young Bruce Dickenson (Iron Maiden) and the younger-still Spells Topping (cat), with Spells donating fur to the cause. A version of a work first seen in Drew Barrymore's Island Hotel from Hell (2023), this book page joyfully celebrates these leather-clad, demonstrative, ebullient scream queens
We All Love The Same Boy
No full textWe All Love The Same Boy debuts new work in progress by Glasgow based artists Emmie McLuskey & Matthew Arthur Williams. The exhibition weaves together their distinct practices that frequently explore close collaboration with others, creating pieces that focus on friendship, community, process, sound and movement.
Taking the practice of image making as its focus, McLuskey and Williams present a series of approaches to recording and editing that centre embodiment and the choreographic as ways of opening up how we speak outside of words. Through sound, still and moving images we are guided by gestures that signal a series of intimate and felt relationships mediated through the lens of the camera. Working across a number of mediums the pair play with the apparatus as a means of carrying us through real time and decision making, prioritising one off, fleeting moments that are often overlooked.
For the exhibition, Matthew has created eight black and white photographs that include three landscapes, three self-portraits and two portraits taken over the past year. Accompanying these images is a fragmented sound piece composed alongside classical musician Blaize Henry. The score, extracted from Matthew’s upcoming film Hello/Goodbye, draws influence from the work of composers Julius Eastman and Ryuichi Sakamoto, in order to reimagine a space of fragmented memory and lost desire. Matthew’s work often revisits sites of fractured archives that centre queer desire as a means of opening up memory as a muscle and roots that have been severed.
Over the past year Emmie has worked with choreographer Janice Parker to lead and record movement sessions based on the alphabet with friends and colleagues in Glasgow. Focussing on discovery and each individual’s movement vocabularies as a means of exploring the meaning of each word, we are taken through a series of one off moments. As part of the project, Emmie worked with actor Petre Dobre to reinterpret the movements of the group into British Sign Language. The dual screen installation plays a selection of these movements in alphabetical order alongside Petre’s signs. The work will eventually become a children’s book titled The A - Z of Movement due to be published at the end of this year. The screens sit amongst a seating structure designed by Emmie and artist Malcolm MacKenzie in order to offer a space for viewers to sit, talk and view the works from multiple perspectives, with numerous possible configurations. Emmie and Malcolm often work together to explore alternative forms of education and community organising, working in wood being a large part of this work.
The artists would like to thank Alex Allan, Matt Barnes, Robbie Batchelor, Liam Richardson,
Théophane Catelli from Govan Project Space. Carmen Berbel, Andrew Black, Siri Black, Alasdair Campbell, Kenny Christie, Martin Clark, Anne-Marie Copestake, Maria Di Lima, Safiya Dhanani, Petre Dobre, Bishop Mae Down, Catriona Duffy, Emma Hargreaves, Annie Hazelwood, Blaize Henry, Daniel Hughes,
Hannan Jones, Rob Kennedy, Mason Leaver-Yap, Eoin MacKenzie, Malcolm MacKenzie, Colm McGuire, Robert McCourt, Lucy McEachen, Martin O’Connor, Kimberley O’Neill, Denis, Rachel and Ray O’Neill,
Janice Parker, Jesse and Rudi Paul, Charlie Prodger, Mark Readhead, Maeve Redmond, Scott Rogers,
Akash Sharma, Lea Shaw, Sebastian Taylor, Rachael and Lauren, the Thursday night drama group at Platform Easterhouse, CCA, Glasgow, Glasgow Print Studio, Street Level Photoworks, Cove Park, Photoworks and Ampersand.
This exhibition is supported by
The Scent of Roses: A Cultural History of Rose Perfumes
No full textOne does not need to be a perfume connoisseur to recognise the scent of a rose. Its liberal use in modern perfumery has familiarised many with its characteristics and made the rose a part of our olfactory language. However, this ubiquity belies its enduring and mythic status. Throughout history, rose perfumes have been variously used to anoint royalty, cleanse heretics, symbolize Gods, express virginity, cure ailments and flavor celebratory food but this correlation between the scent, beauty and divinity is not fixed. Rose perfumes have also embodied immorality, announced subversion, and signified death.
Whilst many of these uses are a distant memory, fashion houses and perfumers still draw upon and reconfigure these contradictory connotations in the development of their perfumes today. The talk will chart this history and consider the role that mythology, religion, horticultural advances, literature and the growth of the popular press have played in the shifting fashionability of the rose and its perfume
The effectiveness of a 3D Virtual Reality model of a paediatric abdominal Neuroblastoma for surgical planning and junior doctor education
No full textNeuroblastoma (NB) is a rare embryonic cancer that presents surgical challenges, particularly in high-risk cases. High-risk cases are those stratified according to image-defined risk factors (IDRFs) on medical imaging. In abdominal NB, common IDRFs include encasement of major vessels: the abdominal aorta and inferior vena cava (IVC) amongst others, which poses an increased surgical risk. With a surgical resection goal of over 90% for optimal survival, three-dimensional (3D) models derived from patient datasets have proven beneficial for pre-surgical planning.
This chapter presents the framework used to create a prototype 3D Neuroblastoma model within a virtual reality (VR) application for surgical planning and junior doctor education. The 3D VR model displays a large abdominal neuroblastoma with encasement of the IVC and inferior mesenteric artery (IMA), spatial relationship to the abdominal aorta, tributary vessels and abdominal organs. Key features of the VR development include (i) tumour transparency, (ii) a customisable interactive toggle display, (iii) CT dataset overlay, (iv) 360-degree rotation of the model, (v) medical information relating to neuroblastoma, including tumour volume and (vi) notation.
User testing was conducted at the Royal Hospital for Children, Glasgow (RHCG) with 20 medical professionals participating. Results demonstrate the application had a good usability rating (SUS 79.75) and sense of presence (ITC-SOPI) rating, with resulting scores in each category; Sense of Presence (Mean 3.75 ± 0.55 SD), Engagement (Mean 4.08 ± 0.4 SD), Ecological Validity (Mean 3.72 ± 0.83 SD), and Negative Effect (Mean 1.77 ± 0.78 SD).
A counterbalanced anatomical identification experiment comparing the 2D dataset to the 3D VR model showed a significant difference (p <.05) in errors committed between the control and VR group, demonstrating that participants performed better in VR (MVR = 0.35, σ 0.59) compared to 2D (Mcontrol = 0.85, σ = 0.93). A significant difference (p < 0.05) was also noted in the evolution of error between groups, suggesting that Group 1 participants who have first undertaken the control condition and then VR, have seen the number of errors decreasing indicating that the VR condition promotes greater accuracy for anatomical identification.
Limitations to this study include a small participant number (n=20) and a broad spectrum of knowledge among participants. Future research could address such limitations by increasing participant numbers and narrowing the education-level demographic, focusing on one cohort of participants
Navigating the Unknown Unknowns in the Field(s) of The Image
No full textPaper for the GSA L&T Conference: Creative Education as a Creative Sustainable Practice, 5th June 2024
This paper recounts the shifts that take place in the context of images and the creative spaces that contain and carry them. Taking examples from a revised curriculum in the Second Year Photography curriculum, the paper takes examples of contemporary practice in the context of the exhibition, the individual publication and the group publication. Following Slavoj Žižek’ s categorization about knowledge, the question is posed about how the photograph functions as a concentrated field of knowledge in different contexts, how artists/teachers encounter and discuss it with the artists/students and how the conversation pivots between the aesthetic event and the learning event in the public domain. The paper examines model of production and making, the navigation of ambition and production and the consolidation of the function of the image in gallery and publishing contexts. Considering the current financial state and the different conditions that govern the thinking and working with the photograph as a primary form of expression, a case is made that new strategies need to be developed to both encapsulate practices in the expanded field of the image, and to consider contemporary tensions in production, learning and teaching and making
Thinking in Photographs with Michael Mersinis
No full textPublication of Works as part of the 'Broken Windows Project'
Social scientists Wilson and Kelling introduced the ‘Broken Windows Theory’, where visible signs of disorder create an urban environment that encourages further disorder. There is an implication that the urban landscape allows a communication of lack of authority and this, in turn, proliferates a disregard for social norms and law. A new social geography emerges leading to a continuous deterioration of culture and community, as disorder becomes more common. The works scrutinize the nuanced relationship between causality and correlation and advocate a complex response to how the urban landscape ultimately can become a site of resistance of marginalised communities and how disorder reflects the complexities of class dynamics. Disorder is reframed as a complex phenomenon, imbued with transformative potential and latent opportunities for societal renewal and magical opportunities. The images in the series speak of a set of conditions that exist now in what was a failed gentrified portion of the city of Athens, Greece. They weave interpersonal narratives and hint at biographies and conditions that are at once difficult and wonderful. An inherit aesthetisation of the photograph (is not every photograph a tableau of some sort?) confronts a reality that has a hard edge. The narratives that spring from the images are suggestive and attempt to speak towards a biography of self, and the site they are made as well as chronicle life’s of people that occupy it
Creative approaches to reimagining Patient and Public Involvement (PPI) in cancer research
Get PDFBackground
PPI is the integration of patient and public perspectives into health research, ensuring those affected by research outcomes shape its direction and implementation. Cancer research (both clinical and pre-clinical) faces very specific issues with regard to PPI integration due, in part, to the diversity of lived experience.
What we did
We conducted semi-structured interviews with 5 people with lived experience of cancer, 5 cancer research professions, and 5 people with lived experience of cancer who were also cancer research professionals. Based on themes developed during these interviews, we then conducted 2 ‘brainstorming’ workshops. The outputs of the workshops were then subjected to thematic analysis.
What we discovered
Key themes emerged, including the importance of harmonious communication, the motivations driving PPI, the challenges and opportunities surrounding accessibility and diversity, and the power of a co-creative and human-centric approach.
The insights gained provided practical suggestions for refining PPI's role in cancer research.
Next steps
This work delved not only into the 'how' but also the 'why' of integrating PPI into the cancer research pathway, offering recommendations that we hope will contribute to ongoing discussions and practices. The next step is to engage with a wider PPI/ researcher community to prioritise the actions emerging from the thematic analysis
Selection of work presented in Suboart Magazine
No full textSelection of work of a large body of work in Athens, Greece. The Images play off and are based on the ‘Broken Windows Theory’, introduced in 1982 by social scientists Wilson and Kelling, proposes that visible signs of disorder create an urban environment that encourages further disorder. There is an implication that the urban landscape allows a communication of lack of authority and this, in turn, proliferates a disregard for social norms and law. A new social geography emerges leading to a continuous deterioration of culture and community, as disorder becomes more common. The works scrutinize the nuanced relationship between causality and correlation and advocate a complex response to how the urban landscape ultimately can become a site of resistance of marginalised communities and how disorder reflects the complexities of class dynamics. Disorder is reframed as a complex phenomenon, imbued with transformative potential and latent opportunities for societal renewal and magical opportunities.
The images here are a selection of a larger body of work that is ongoing, and were featured as part of an interview in Suboart magazine on practice
The chloride of silver answers perfectly, 25 October 1835
No full textThis photographic work was exhibited at ‘Chasma’ - an exhibition of work by Royal College of Art School of Arts & Humanities PhD exhibition mentored and curated by Beaconsfield. Chasma brought together artist-researchers from the RCA’s School of Arts and Humanities in an exhibition mentored by Beaconsfield. The works in the exhibition are all further steps in the process of excavating new knowledge – new expressions of the untold and yet unseen.
This photograph is part of a larger series of work re-visiting, re-enacting and re-touching marginal histories of early photography. Scottish Polymath Mary Somerville’s (1780–1872) protophotographic experiments of 1835 were first published as Expériences sur la transmission des rayons chumiques du spectre solaire, à travers différents milieux in Comptes rendus. Made in an age before photographic images could be fixed (rendered permanent), her photochemical experiments exist today only in written word. This work re-enacts Somerville’s chemical and optical experiments, producing a physical encounter that offers an insight into the perception and experience of colour before the so-called ‘invention’ of photography in 1839