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Animating the Surface of the screen and the body
Get PDFHow performance, photography and spoken word can be framed as expanded animation practice.
https://blog.animationstudies.org/?p=655
Ambivalent Anti-Urbanism – the „Eco Estates” in 1980s West Germany
No full textIn 1980s West Germany, groups of hippies and non-conformists but similarly of well-integrated, ecologically conscious middle-class families, initiated numerous “ecological estates” that were generously subsidised by welfare state institutions as models for ecological dwelling. These included the Ziegelei in Merzhausen near Freiburg (1978-80, Rolf Disch), Alte Windkunst in Herzogenrath near Aachen (1987, Birgit Siebenmorgen and others), the Schafbrühl Estate in Tübingen, (1984-85, Joachim Eble, Burkhart Sambeth and others), and the Eco-Estate in Cologne-Blumenberg (1989, Raimund Stewen).
This paper argues that the inherent back-to-the-land approach of these projects contained an ambiguous anti-urbanism. Like Letchworth and Hellerau half a century earlier, the eco-estates were supposed to be counterproposals to a polluted, potentially unsustainable and morally corrupted city. At the same time, along the lines of Jane Jacobs or Alexander Mitscherlich, they promoted an idealised view of the dense pre-modernist city as a hub of community, diversity and creativity. This ambiguity was reflected in the architecture of these dwellings, which took from rural vernacular precedents (including grass roofs and rammed earth construction) as well as from dense premodern urban typologies.
My paper further argues that the eco-estates embodied a similar approach to the Covid-induced anti-urbanism of 2020/21, in which white-collar workers began to leave the allegedly contaminated city for home offices in summer houses and rural second homes, while at the same time promoting urban qualities such as diversity, cosmopolitanism and intercultural networks
Embedding Equality Diversity and Inclusion in creative education: strategies conceived through standalone EDI development workshops and holistic implementation of these strategies into a STE(A)M curriculum
Get PDFThe BDes Sound for Moving Image programme recruits directly into Stage 3, articulating from HND (or from mature students with relevant experience). The rapid jump from Further Education to Higher Education means that Equality Diversity and Inclusion is an urgent priority in this programme, to ensure students are empowered, inspired and motivated – as they may never have expected to be welcomed into an art school, due to societal inequalities experienced. We support students to conceptualise and justify the use of innovative methods and creative making with sound and moving image in order to interrogate personal, cultural or societal issues.
This presentation showcases teaching methods that celebrate neurodiversity; accessible multi-sensory activities to foster collaborative creativity (such as analogue experimental film generation using optical devices and improvised music practices using “noise-makers”). Also featured are curricula on gender diversity and social justice, through critiquing the male gaze in cinema and the colonialism or class disparities in soundscape practices – then spotlighting artists who propose alternative inclusive practices.
The presentation weaves together insights from the 2024 Equality Impact Assessment, the 5-year reflection on an Associate Student Scheme in a Further Education College written with Widening Participation, and key reflections and strategies conceived during EDI staff and student development activities co-led by staff from GSA Library, International Foundation Programme, Architecture, and Marketing and Recruitment. Together we discovered methods to build pro-active inclusive recruitment practices (sharing diverse student voices in recruitment materials) and continue de-colonising curriculum (spotlighting role model practitioners from minoritized groups in curriculum)
GIOFest XVI GIO Global Film Screening
No full textThis was comprised of original dance, film and sculpture created for a Global Telematic orchestra to respond to live, Glasgow Improvisers Orchesra GLOBAL. Immediately preceding the Hybrid Piece concert, a screening of new films produced by and featuring many Glasgow Improvisers Orchestra's digital global collaborations over the past 12 months included dance and theatre from Japan, sonic ethnography from Australian sound artists, and the spontaneous generation of ideas other global players from Mexico, Spain, New York, California among many others. Commissioned films include:
Behind, Minori Seki.
Origami, Yasuko Kanek.
Sensory Ethnography, Burke, Hall, Williamson and Kellet.
I feel like I'm learning so much from hearing Constance's sirens in Washington, Heights in New York, or making music to try and lure in her birds that haven't come back in the spring. Claire and Rob's place making and their sensory ethnography, their description, their audio description, of an environment that couldn't really be captured through a zoom microphone on a phone in nature
The Bananalisation of Consumption
Get PDFFor the re-launch of the refereed journal 'Visual Culture in Britain', the new editors invited contributions from representatives (6) of the British Universities, the Museum sector and Research Centres (including myself) to respond to this idea of a changing Britain through the prism of British art and visual culture, using cogent examples wherever possible, and bringing to the fore the authors observations, understandings and positions within this rapidly developing context. ‘The Bananalisation of Consumption’ is my published contribution to the discussion titled 'Wet Paint 2 - Visual Culture in a changing Britain: A Roundtable Debate'
Shielin-bough: A Shelter for Learning Together
No full textThis article was written for the annual University of the Arctic magazine, Shared Voices, to disseminate the educational insights from the shielin-bough project to an Arctic and near Arctic audience. The online version was released in May 2024, and the hard copy publication was launched at the Arctic Congress in Bodø in June 2024, and made freely available conference delegates, c.500 in number
Tidelines
No full textMapped to East Beach on the Isle of Berneray, Tidelines draws upon the coastal landscape of the Western Isles, featuring poems written and narrated by writers on Uist, with music and soundscapes composed by Duncan MacLeod.
The soundwalk was commissioned by Taigh Chersabhagh Museum & Arts Centre, Lochmaddy, and premiered as part of Bernerary Week on 23 July, 2024.
Credits
Poets: Liz French, Barbara Hunter, Thelma Marl, Kirsty O'Connor, Loriana Pauli, and Pauline Prior-Pitt.
Narration: Calum Ferguson, Liz French, Barbara Hunter, Ciorstaidh Monk, Kirsty O'Connor, Loriana Pauli, and Pauline Prior-Pitt.
Music and soundscape compositions: Duncan MacLeod
Showing the Work: Feminist archival practice and exhibition
No full textAt a time when feminist archival materials are increasingly present in international exhibition making, this panel explores the relationship of feminist archival practice to exhibition. Across this panel, the idea that feminist archives do not precede exhibition but instead are constituted through expanded practices of curating, exhibition and distribution is introduced and tested. How do feminist archival practices that happen through collective kinship networks enable materials to be available for exhibition? How does distribution also function to preserve archives of feminist practice? What processes of creative and ethical custodianship does the feminist archive require? And how do ephemeral textual materials that blur distinctions between archive and collection promote not only new forms of exhibition making but the re-imagining of institutions?
Contributors: Karen di Franco, Charlotte Procter, Radclyffe Hall (chaired by Catherine Grant
Upper Limb Impairment and the potential role of Virtual Reality in the Rehabilitation of the Upper Limb in Multiple Sclerosis: views of specialist clinicians and people with MS
Get PDFBackground:
Finding enjoyable and effective long-term approaches to rehabilitation for improving upper limb (UL) function for people with multiple sclerosis (pwMS) is challenging. Using virtual reality (VR) could be a solution to this challenge however; there is a lack of reporting on pwMS’ and clinicians’ views on VR-based approaches and recommendations for games for rehabilitation.
Objective:
To identify common UL problems and their related current therapeutic approaches in pwMS and 2) to explore the opinions of pwMS and specialist clinicians’ on VR and suggestions for development and design of VR games.
Methods:
Separate focus groups were conducted with pwMS, recruited through the MS Society UK’s research network, and clinicians, recruited through the UK’s Therapists in MS network. Ten pwMS (two focus groups) and eight clinicians (five physiotherapists, two occupational therapists and one MS-nurse, two focus groups) were involved. Focus groups were recorded and transcriptions analyzed using theme-based content analysis (TBCA).
Results:
People with MS commonly reported their UL problems interfered with activities of daily living (ADL) and resulted in the loss of meaningful hobbies such as writing. Many pwMS neglected UL exercise and found strategies for adapting to the UL impairments. Similarly, clinicians stated UL rehabilitation was neglected within their service and that it was challenging to find interesting treatment strategies. VR was suggested by both participant groups as a solution, being convenient for pwMS to access and could provide a more engaging and disguised approach to exercise. There were shared concerns with cybersickness and disengagement with using VR approaches. Both groups agreed games should be meaningful and adaptable for users, but suggested different VR activities, with clinicians suggesting games directly reflecting ADL and pwMS more abstract activity.
Conclusions:
VR was well received by both pwMS and clinicians for UL rehabilitation. Recommendations are made for the development of VR rehabilitation games which are personalized and customizable for the varying ability of pwMS
A champion “large of portratour”: Robert the Bruce as “Giant” in Anti-Tudor Propaganda
No full textThis book chapter addresses the portrayal of Robert the Bruce as a giant in the entry of Margaret Tudor in Aberdeen in 1511. Using Dunbar's poetical description of the event as starting point, the depiction of the Scottish king specifically as an anti-English giant is analysed in the context of symbolical representations of giants in folklore, literature, and courtly and public performance across Europe at the time. More locally, the specific local character of this representation is discussed as challenge to Margaret's Tudor lineage, but also in relation to James' own Arthurian ambitions and modernising aspirations for Scotland. The giant is revealed as a politically charged throwback, powerful but at the same time, reaching the end of its useful life as political symbol in sixteenth century Scotland