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Engaging for Sustainable Development and Transformation – Exploring the Concept of Transformative Academic Institutions
Get PDFUniversities are expected to play a proactive role in the sustainable development and transformation of their regions. However, they face external and internal barriers to play that role. Transformative Academic Institutions (TAIs) are a possible approach to better understand and overcome those barriers. Defined as research centres created within universities to proactively engage in territorial development processes they can act as ‘living labs’ from which universities can draw lessons when developing a regionally engaged role. We explore the TAI concept further by analysing five academic partners working in different organisational research settings within larger university structures. Our exploration of TAI practices followed an action research approach with participatory design methods. Findings point to a more strategic partnering with external (non-academic) actors to contribute to (longer-term) change processes that address regional sustainability challenges. This can take universities towards new roles in curating collective knowledge and catalysing and facilitating change
Sonic Landscapes - Interior Design Creative Practice and Pedagogy for Learning in and Designing for Interior Spaces
No full textIn this paper, I introduce approaches for exploring the sonic landscape of interior spaces, critical listening, and creative pedagogies, using Creative Practice to explore and provoke. Inviting learners to respond to the sonic environment of the spaces they are both learning in and designing for, this set of creative practices provides a guided exploration of listening, understanding, and the collective imagining of our sonic landscapes.
Our design of interior environments prioritises visual, tactile, and social aspects while often overlooking the sonic experience. Through three practice-based sound works, I aim to open a route to the sounds we encounter. I introduce three of my creative practices: ‘Sonic Welcomes’, which involves exploring the soundscapes of specific buildings; ‘Sonic Circle’, which captures the sounds of the city within a 2km radius around our studio; and the third, which details my recreation of Alvin Lucier's ‘I am Sitting in A Room’ (1970) and its provocation to teaching practice.
Building on the concepts put forth in Lacy’s ‘Sonic Rupture’ (2017), Oliveros' Deep Listening (2022) and Alvin Lucier's scores that explore the physical quality of sound, this paper explores the use of existing soundscape to challenge assumptions and invite learners to reevaluate the sounds they encounter. "Sonic Welcomes" involves closely examining the soundscapes of specific buildings, leading to the revelation and consideration of differences when juxtaposed with visual explorations of the same buildings.
This paper serves as a reflective account of these three sonic practices, focusing on provoking learners to both listen and capture the soundscapes (Schafer, 1977). As a significant part of the interior's experience but an often under-served area of interior pedagogy, they offer an introduction to incorporating sonic awareness into the interior design curriculum
No One Knows I'm Dying
No full textEyres’ methodology includes the collection of source imagery from cosmetology and dermatology books that feature extreme close-up photographs women’s faces and the backs of anonymous women’s heads. Her source material also included first -aid manuals from the 1980s that depict figures in states of physical distress and assisted by disembodied hands, portrayed by actors. Eyres selects, scans, closely-crops and edits these photographs, and paints them using realist techniques. The resulting paintings instigate an extreme sense of closeness to the subjects and present moments from incomplete narratives that appear psychologically charged.
The paintings are exhibited alongside ceramic works that are based on mundane objects such as deflated balloons with happy faces, cigarette butts in an ashtray and a ham sandwich. These works are hand sculpted and glaze using a combination underglazes and clear glaze.
The gallery is situated in a former fish factory and makes use of several small rooms that feature distinct groupings of paintings and ceramics. By drawing together these distinct bodies, the exhibition becomes charged with psychological strands which alludes to various states of life and mortality. The realist techniques and extreme close ups show a critical scrutiny of the face and hair, as if these are being examined. The exhibition title is ambiguous and humorously alludes to the denial of inevitable death
Bedroom Floor (Misty), 2023. Oil & pencil on paper, c-type print, photograph, vintage comic
No full textThis work was part of The Weird and the Eerie, a group exhibition curated by Luke Shand and Karla Healy, New Glasgow Society, 6-8 June 2024.
"The Weird and the Eerie," is a thought-provoking visual art exhibition that explores the concepts and philosophies from the book of the same name by the late Mark Fisher. Fifteen artists, including staff, students and alumni from the Glasgow School of Art have come together to expose viewers to the unknown and the disconcerting. This intense exhibition investigates the unsettling and mysterious minds of the artists who challenge perceptions of reality, surreality, darkness and the bizarre.
The work within the exhibition explores the concept of the "weird"; a reality so strange it seems it should not exist, evoking a sensation of wrongness that compels us to question its very existing and forces us to reframe of our selfhood. The "eerie" on the other hand is represented through themes of absence and uncertainty, evoking an uncomfortable, creeping feeling that unseen forces may be influencing our lives or acting beyond our control.
Each artist has approached the theme in their own unique way, often decentring the human or disrupting the status quo. In doing so they are revealing the arbitrary nature of the worlds around us. The Weird and The Eerie exhibition aims to challenge the conventional norms with its focus on the strange. By exploring forces of presence, absence and agency, all fifteen artists challenge the boundaries of common-sense understanding, awakening an unsettling sense that reality may not be what we initially understood it to be. The exhibition runs from Thursday 6th - Saturday 8th June between 11am and 4pm with a Private Viewing on 6th June from 6pm until 8pm. The event is kindly sponsored by Tunnocks and Drygate Breweries
L’habit fait-il le genre de l’écolier ? La question de la mode genrée à l’épreuve de l’institution scolaire dans la France de la deuxième moitié du XXème siècle à nos jours. [Gender construction in the school environment, France, from the 1950s onwards].
No full textGender construction through clothing for children in French schools is particularly observed until the 1970s. Whether through strict regulations or simply by monitoring dress codes in a gendered school, the clothing differentiation between girls and boys takes place in the sharing of a common role: that of the schoolchild. The opening of schools to the notion of co-education through the cohabitation of girls and boys in the same spaces, leads to the attenuation of this distinction in gendered dress codes. The political and pedagogical choices which contribute to the mixing of genders in school, and to certain extent the estate constraints of the school institution after the Second World War, have certainly contributed to the appearance of a mixed fashion inspired by male style and reinvents the codes of children's fashion. The girls' pants are representative of this emancipation of childrenswear which, from the schoolyard, will influence adults dress code. Based on the analysis of regulatory texts, photographs of schoolchildren and fashion archives, this chapter first explores gendered fashion in French schools of the 20th and 21st centuries and the echo of this movement in school regulations. Secondly, the study of the shapes and types of clothes worn by pupils, and more specifically the appearance of trousers among girls, sheds light on the influence of the institution on gender construction in childhood, and finally on the fashion industry in a particular historical context
Transmissions for Ukraine: Art as Weapon and Tool of Change
No full textPaper presented at a two-day symposium at the Revelator in conjunction with The Journal of Media Practice and Education
Over two days, fifty artists, writers, filmmakers and academics seek to open a conversation on how to reject the straitjackets imposed by universities and art schools on their way of working through a discussion of what we have termed ‘wild research’.
Considering the Artwork as an active tool for political change, the paper discusses issues of privacy and visibility as they pertain to the military industrial complex. Taking as a starting point the tumultuous history of military transmissions, their history and relevance to language and by extension to culture, the paper looks at ideas of activism, the grey area between legality and opportunity with a particular focus on current events. The paper proposes that there are multiple dimensions to making work and that it is indeed a different context that determines the role and function of the artwork than one dictated by it's form, format, context and institutional and legal frameworks. This context is neither easy to determine, police or define, but it is one that is largely established between idea, work and reception (both in practical and art-historical terms)
Work exhibited in group exhibition "Class Matters"
No full textcurated by Elizabeth Hodson and Deborah Jackson as part of Class Matters Research Group at The Glasgow School of Art
In criminology, 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
Textiles and Papers of Fraser Taylor
No full textIntroductory text for the Instant Whip edited publication (https://radar.gsa.ac.uk/9491/), which discusses Fraser Taylor’s collection within GSA’s Archives and Collections, provides insights into how his practice has evolved and how Taylor returns to previous work to inform new ideas and collaborations. Images of Taylor's work courtesy of GSA Archives and Collections feature alongside the text
Guest Speaker, The Living Table (flora), Forgan Arts Centre
No full textLiving Table was a series of events that took place at the Forgan Arts Centre, conceived and organised by Desiree Coral. Every month Living Table invited people to join thematic provocations that aim to create connections through food. By experimenting with ingredients, sharing cooking practices, and creating seasonal recipes, we hope to understand the food’s local and international human and, more than human connections, the politics and complications derived from these relationships.
Living Table is a project inspired by the life that grows around a table. The life of crops, insects, soil, air, water, and everything that enables the sharing of food and how it intersects with cultural, social, and environmental issues and real human lives. It allowed for exchanging of ideas, experience, and understanding
Monarchs of the Glen: From Whisky to Wes Anderson After After After After The Monarch of the Glen (2023)
No full textThe painting The Monarch of the Glen by Edwin Landseer has inspired people around the world since the 19th century, being reproduced and re-interpreted many times. This innovative display, celebrates the international history of a Scottish icon, from shortbread to Schitt's Creek, whisky to Wes Anderson and beyond. Dovecot’s own beautiful tapestry based on the painting will form the exhibition’s centrepiece.
To commemorate the 150th anniversary of Landseer’s death, the four walls of Dovecot’s world-renowned tapestry studio in Edinburgh will be dedicated to exploring images derived from this familiar and romantic image of the highlands. The display highlights how reproductions of The Monarch of the Glen have been used for numerous agendas, ranging from the celebratory and political, to the comic and subversive