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Medical Visualization and Applications of Technology
No full textThis edited volume encompasses chapters on novel and innovative research in the applications of leading digital technologies in an accessible and engaging way. By utilising cutting edge and ever progressive technology in visualization, it will enhance our understanding and application in our everyday lives.
This volume shows how we can use Extended Reality, 3D animations and serious games to benefit the learner, educator, clinician, patient, parent and carer. Visualization techniques like Virtual, Augmented and Mixed Reality and show how they can be utilised to improve training and understanding of anatomy, surgery, and clinical assessment. This is covered specifically for emergency practitioners in enhancing their understanding of ECG’s for potential myocardial infarction by using augmented reality. From a translational medicine perspective and pre-operative pediatric surgical planning, the benefits of augmented reality are examined as to what might be found intra-operatively from imaging techniques.
Educational applications of digital technologies using serious games and Extended Reality are examined. We show how Mixed Reality can aid understanding in cellular anatomy for our learners and researchers alike. We also show how serious games can have applications in diverse areas like parasite infections and neuroanatomy education and training.
Finally, from a clinical perspective, the use of 3D animations and their applications is discussed for vertebral fractures and increasing parent/carer awareness through interactive applications. Also, the use of 3D animations in cerebral magnetic resonance angiography for global education highlights the great benefits of these tools and technologies.
There is something for the researcher, clinician, educator, patient, and carer as we explore novel technologies. These are applied locally, nationally and globally as we advance our understanding of the world changing influence that digital technologies have on our day-to-day life
HE is Paul and she IS Orlando: Paul Preciado, Gender and Film
No full textThe film 'Orlando: My Political Biography' only went into cinemas in general release here this summer, so, although it was first shown at the EIFF in August 2023, it seems to be up for discussion again. The gender issue(s) is/are, indeed, still way up on the social agenda - as put in the article, 'We are all on our social stages ... all in our social cages'. Preciado's openly self-constructed cage is a particularly intricate one, and he inhabits it with his own peculiar and provocative panache
R E - R E C O R D I N G (Pete Horobin's 'Digestive Biscuit Action', 1986)
No full textA dual monitor video work with live performance directly investigating Pete Horobin's 'Digestive Biscuit Action' (1986), where he video recorded himself in the DATA Attic at 37 Union Street, Dundee, between 12:30-2:22 pm on 29 March 1986 attempting to eat an entire pack of digestive biscuits, dedicating each one to a person who had corresponded with him so far that year. The work is a meditation on personal and cultural history and an observation of the economy and politics of everyday reality. In 'R E - R E C O R D I N G', Roddy Hunter replays this 1986 video footage on a vintage CRT monitor while recording himself on MiniDV, preparing and repeating the attempt between 4:00-5:52 pm on 4 April 2024 in Matthew Gallery, DJCAD.
The work was conceived and performed in the context of 'History/Reality', the first public engagement exhibition of the project 'Curating The Digital Attic Archive: A Case Study For Open-Source Approaches To Artists' Archives', curated by Judit Bodor at Matthew Gallery, Duncan of Jordanstone College of Art & Design, University of Dundee. The video output of the original and new footage will provide a basis for a new split-screen video work exhibited to be later archived on the digital attic archive open-source web platform currently being developed throughout the project. Documentation of the work was also published as the basis of the digital collage R E - R E C O R D I N G' (THE ATTIC ARCHIVE), 'Soanyway magazine', Volume 2, Issue 17, Autumn 2024
Fever: Writing the Highs and Lows of Recovery
No full text'Fever' is a play written and directed by Gemma Muir, Senior Community Coordinator at SISCO. It is published as part of a collection of writing that brings together the script for 'Fever' with prose and poetry written by members of SISCO’s creative writing group facilitated by Joey Simons over the course of his In-Residence project. Developed through a series of prompts and writing exercises drawing from the legacy of The Special Unit at HMP Barlinnie, alternative histories of the city, and the role of community and solidarity, these new works respond to and expand upon the central themes put forward in Fever.
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
Bedroom Floor (Queen Body)
No full textBedroom Floor (Queen Body) is a developmental work, unsure of its place (on a wall) and less important than the text that accompanied it.
This work was part of Class Matters (2-21 May 2024, Annex Gallery, GSA), a group exhibition curated by Deborah Jackson, James Hutchinson & Elizabeth Hodson
Fragmented Memory
No full textFragmented Memory
Memories are how we record our past, but they are also our grounding for the future. This piece was made during a period of research for the exhibition Memories are Made of this in 2023 at Sarah Myerscough Gallery.
Memories are formed, shared, and distorted through time. Each time we recall a memory we make tiny alterations to the recollections, lose and gaining elements. Whole memories become fractured and reconnected. Fragmented Memory explored how memories break up and form tiny elements of a whole. Some bigger or more prominent than others. This is demonstrated through the assembly of elements in this brooch. The units are made of round wire that has been rolled flat then swaged into quills of different lengths, combining silver and 18 carat yellow gold to form a complete round brooch. These units represent the elements of a memory that is fragmented but still complete
Work created as part of The Through Line exhibition
No full textTHROUGH LINE marks the culmination of a series of four group exhibitions at the City Art Centre, spotlighting contemporary art and craft practice in Scotland. It features work by nine artists - David Connearn, Ian Hamilton Finlay, Andrew Lamb, Charles Poulsen, Frances Priest, Lara Scobie, Susan Mowatt, Rhona Taylor and Michael Walton.
Spanning an array of artistic mediums including ceramics, drawing, jewellery, painting, printmaking, poetry and textiles, the ‘through line’ or common visual thread of this show is the use and exploration of line in the artists’ diverse practices. The exhibition looks at the beauty and versatility of the line - from the simplicity of a single stroke to intricate linear patterns - and the impact it can have on our visual experiences.
I am exhibiting a series of large scale paper artworks, with retrospective works in gold, silver and copper wire - alongside my newest pieces in recycled aluminium, platinum/gold and acrylic.
The retrospective pieces (2002) are the resulting works from a previous group show 'Weaving Stories' where my starting point was the labour-intensive weaving technique of Ikat, in which design effects are achieved through resist-dyeing the warp, the weft prior to the weaving process. Precision is paramount in both the preparation and weaving stages to ensure the accuracy of the pattern. A notable characteristic of Ikat is the feather-edged effect produced at the colour transitions during weaving which is something I was keen to reflect in my works. Through experimentation this led to the creation of three-dimensional wall works in paper and precious jewellery. The colour transitions and resulting patterns in the fine wire pieces are achieved by twisting together silver and gold, or silver and copper, to emulate the dyed warp. These coloured wires are then meticulously cut and aligned according to the Ikat-inspired pattern before being soldered and formed into the final piece of jewellery.
'The ideas within Andrew's work are underpinned by traditional goldsmithing methods and ancient skills. He is driven in his practice to advance what is possible in aesthetic form through wearable objects that balance artistic expression with technical innovation. The physical process of working in metal, such as drawing it by hand into very fine lengths of wire, is hugely inspiring for him. An ingot of gold becomes a thread of wire, a line that offer infinite creative possibilities. Andrew experiments with these techniques and translates them to reflect his research in textiles or graphics. Additionally, he references visual illusion and optical principles in jewellery to echo the perfection found in nature, tempered by the shifting patterns of how we see and perceive the world'
[....LINE IS THE EDGE, LINE IS THE CONTENT
"Approaching similarly lush terrain, the jeweller Andrew Lamb creates finely wrought surfaces using long filaments of wire or aluminium strips * in which pattern or shifting colour is in-built. Arranged in regular striations or tightly folded waves, they bury the eye in shimmer and dazzle, suggesting moiré patterning or lenticular effects. The intelligent eye is drawn from the all-over image into the detail, however, returned from texture to line in an attempt to unpick the qualities in play.
Thread or trace?
“A thread is a filament of some kind, which may be entangled with other threads or suspended between points in three- dimensional space,...the trace is any enduring mark left in or on a solid surface by a continuous movement” (Ingold, pp.41, 43). When a thread is incorporated into a garment or textile, it is transformed into both trace and surface element. Lamb’s jewellery achieves this transformation. Suitably enough, it is deeply influenced by Ikat weaving. '
Extract from easy by Greg Thomas p4 Through Line exhibition Catalogue ]
*see related Radar output - 'BrooTch' / 'Irn-Bruooch
Heritage Equity & The Climate Crisis
Get PDFMarginalised communities frequently bear the brunt of the impacts of climate change, they are often underfunded, under-resourced and excluded from discussions about sustainability. As the impacts of climate change increase and threaten our buildings and places, it is more important than ever that we support everyone to get involved with making a more sustainable future.
This anthology is an edited and documented collection of a series of lectures organised by the Scottish Civic Trust to coincide with the 2021 United Nations Climate Change Conference in Glasgow (COP26). The purpose was to enquire into the inextricable links between conservation of the historic built environment and issues of community equity in the face of the climate crisis.
When we look after historic buildings, we engage with climate change in very practical ways, for example how buildings are impacted by changes in rainfall or erosion. We also strive to make heritage sites and collections more equitable by removing barriers and increasing opportunities for participation for all members of our communities. In reality, we cannot tackle the climate crisis or improve equity without considering how these are interlinked.
Each of the contributions exemplify the ways in which we need to pay attention to the interconnectedness of place, past, climate, and wellbeing. From our own local neighbourhoods and vernacular traditions to wider, global initiatives, we need to look at the intersection of heritage, equity and the climate crisis in order to have meaningful conversations about how to work together to preserve the past and make our future more sustainable
All Things Unsettled, Remain
Get PDFHelen Khal: Gallery One and Beirut in the 1960s is a reflective publication of an exhibition: part archive, as well as a living testament to the late Helen Khal (1923–2009). A polymath, artist, educator, and writer, Khal was also the cofounder of Gallery One, the first modern and contemporary art gallery in Lebanon, which opened its doors to the public in Beirut in 1963.
This publication follows an exhibition initiated by Carla Chammas and curated by Chammas and Rachel Dedman as part of Home Works 8: A Forum on Cultural Practices, which opened its doors at the Sursock Museum, Beirut in October 2019. The exhibition, like the catalogue, detailed Helen's life and practice as a catalytic lens through which to explore the work of a group of artists whom she was close to, in life and in art, including: Chafic Abboud, Yvette Achkar, Etel Adnan, Huguette Caland, Simone Fattal, Farid Haddad, Helen Khal, Saloua Raouda Choucair, Aref El Rayess, and Dorothy Salhab-Kazemi.
From here, the book, co-authored by Chammas, Dedman and Kholeif, seeks to address the exhibition's themes of love, sex, and motherhood, the relationship between visual art and the literary landscape of 1960s and 1970s Beirut, and the galleries and studios in which public collaborations and private kinships were forged.
Taking an intimate approach to a fabled period, Helen Khal: Gallery One and Beirut in the 1960s unfolds a rich picture of the friendships, connections, modes of exchange, common concerns, and differing approaches of some of the best-known and least-remembered artists of the mid-twentieth century in Lebanon
Historicism / Gothic revival; Aestheticism; Streetscape; Urban Design
No full textI provided original text for the following chapters:
Historicism / Gothic revival
Aestheticism
Streetscape
Urban Desig