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Collaborative Futures: Open Citizenship and Data Experiences in Glasgow 2032
Get PDFCollaborative Futures is a four-month design project in partnership with The Innovation School at The Glasgow School of Art (GSA) and the Centre for Civic Innovation (CCI) at Glasgow City Council. It forms a significant part of the final year of study of the Masters in European Design programme at The Glasgow School of Art.
The project is in its ninth successive year, and this is now the fourth year working with the Centre For Civic Innovation at Glasgow City Council. It builds on the legacy and work created through the last two years’ project collaboration. Its model is unique and pioneers an innovative approach to academic and industry collaboration.
This year’s brief Glasgow’s Civic Futures: Open Citizenship & Data Experiences in 2032 explores what Open Government might look and feel like in the future if data-enabled experiences were embedded into our communities and neighbourhoods.
The project outcomes incorporate tangible, futures-based directions and recommendations, communicated as compelling, relevant narratives that align to the council’s wider strategies over the next 10 years. They support the ongoing design-led innovations of the CCI and can be integrated into the work of project stakeholders
What do you think about when you think about skies?
Get PDFA co-authored image-text piece.
This project emerged in conversation between the artists on their engagement with processes, interdisciplinary methods and the landscape
Undercurrents: Art and Ocean in Melanesia
No full textThe ocean is essential to life on Earth. It provides over half the planet’s oxygen, absorbs carbon and supports the livelihoods of millions of people. Climate change, over-fishing and pollution are among many stressors that threaten the ocean’s health. While there is growing global awareness of the harm being caused, responses often exclude communities most reliant upon the sea.
Undercurrents: Art and Ocean in Melanesia brings together the creative outputs of three community-based art projects that surface human relationships and emotional connections with the ocean. Indigenous knowledge, practices and worldviews are showcased in diverse media including murals, wearable art and literature, created by makers based in Solomon Islands, Vanuatu and Papua New Guinea.
Recognising the ocean as a space that unites communities and countries reveals inherent common themes. The sea is a sacred place of identity, spirits and ancestors. Each of the featured works of art embody locally self-determined priorities, values and aesthetics that reflect the specific circumstances of their production.
The exhibition is presented by The Glasgow School of Art in partnership with One Ocean Hub, an international programme of collaborative research for development that promotes inclusive approaches to ocean governance. The Hub’s Deep Emotional Engagement Programme (DEEP) Fund supported the practice of independent artists and grassroot organisations to prioritise marginalised voices in global debates about marine policies and management
Orasaigh
No full textOrasaigh is an acousmatic soundwalk composition that was developed in 2023 as part of the exhibition 'Orasaigh', a collaboration between poet Steve Ely, photographer Michael Faint, and composer Duncan MacLeod. Commissioned by Taigh Chearsabhagh Museum and Arts Centre, the project draws upon the landscape around the tidal island of Orasaigh, located on the coast of South Uist at Boisdale.
Ely’s visionary poem, whilst always remaining anchored in the island, roams widely, exploring a range of themes related to Uist and the wider world – sea level rise, the crisis of the ‘sixth extinction’, history, culture, politics, conflict and class. Faint and MacLeod vividly capture the spirit of the place through their respective mediums, creating an independent yet complementary subjectivity.
As with Ely’s poem, the soundwalk is rooted in the landscape through the presence of soundscape compositions, utilising immersive field recordings captured on location. Elsewhere, material for bass clarinet and highland bagpipes, along with creative reimagining of archival sound recordings from Uist, draws upon the Isles' rich musical heritage through Gaelic song and pibroch (an art music genre associated with the great Highland Bagpipe).
The work of the three artists combines and interacts to produce a uniquely evocative response to a rich and resonant landscape that affirms the vitality and resilience of the human spirit. The island itself becomes a dual symbol of precarity and hope in the crisis of the Anthropocene
Shielin-bough: exploring inter-cultural connections in the north
No full textShielin-bough is a longitudinal collaborative project led by Dr Gina Wall (PI) and Professor Timo Jokela (CoI) University of Lapland, with outputs funded by the Scottish Government, the Finnish Institute UK + Ireland, and the University of the Arctic with support from our business partner Logie Timber. The project explores inter-cultural stories of food and shelter, engaging students from GSA Highlands & Islands, Mackintosh School of Architecture and the University of Lapland in inter-disciplinary, inter-institutional learning. Shielin-bough has a number of stages: participants collaborated to undertake desk research; field work; multi-sensory workshops; symposia; and virtually enabled co-design; culminating in a student-led live build field school. During this stage of the project, participants from different disciplinary backgrounds gathered and built a shelter inspired by the Finnish laavu in the garden on the GSA H&I campus. Drawing on the spirit of community build projects, the field school focused on learning through building, using a skill share model through which the individuals in the group were able to acquire new skills from out with their own discipline. The project prioritised pedagogies of sociability, conviviality, and care, operating a flat and sometimes flipped hierarchy at key points. There was a strong emphasis on low impact solutions for building and on the basis of our business collaboration with Logie Timber, we were invited to participate at their Timber Festival to showcase the work and live build methodology. Colleagues involved in the project also gave a talk at the Timber Festival about the collaborative pedagogic innovation for Scottish Forestry. There have been numerous outputs and impacts for the project, it has appeared in print, generated educational workshops with school children, resulted a range of publications (including a Master’s thesis from a candidate at the University of Lapland) and directly inspired Fraser/Livingstone Architects to use it to model the public art strategy for the amenity space in the local Dallas Dhu housing development. The project was included by the architects as an exemplar of good practice in the planning application to Moray Council and if this is approved, GSA H&I will be a collaborator in the delivery of the outcomes for the development
Screentime Screening, Berwick Film and Media Arts Festival
No full textScreening of three short video works by young filmmakers in Berwick, made collaboratively with artists Kimberley O’Neill and Kathryn Elkin. Applying techniques of digital filmmaking and documentary storytelling, the films explore entangled relationships between people, technology and the local environment.
Berwick Film & Media Arts Festival (BFMAF) is an artistically ambitious and inclusive organisation for new cinema and artists’ moving image.
Based in North Northumberland, the Festival leads through collaboration and research. With a resolute commitment to peer support, artistic production and community development, the Film Festival is recognised for its innovative programming and critical engagement
Creating a VR experience of Fingal’s Cave, Isle of Staffa, Scotland
Get PDFVirtual Reality (VR) is a technology that allows their users to navigate computer generated immersive environments. VR has reached a state were developing projects using this technology are both more affordable and easily accessible to the general public. This paper gives an overview of VR’s evolution through the years and describes its current state. It also details the workflow a project using this technology would normally follow, and the different hardware and software requirements for implementing a fully immersive VR experience. The paper elaborates this process through a case study centred on Fingal’s Cave. This work was part of the Historical Archaeology Research Project on Staffa (HARPS). Fingal's Cave is a sea cave on the Isle of Staffa, located in the west coast of Scotland, which has a long history as a catalyst for multiple forms of creative response. However, due to its rough terrain and the need for boat access it is not suitable for all visitors. This project utilised VR and immersive sound technology to create an audio-visual experience that strives to evoke an emotional response echoing that of an in-person visit This approach aligns with the long history of creative response around the cave where over centuries artists have sought ways to communicate the impact of site beyond simply representing its physical structure
The Films of Nicolas Winding Refn: Genre, Gender, Glamour
No full textThis critical study engages with the films of the Danish director Nicolas Winding Refn, from his first feature Pusher (1996) up to and including Copenhagen Cowboy (2023), Refn's TV series for Netflix, considered here as a long-form, auteur work comparable to David Lynch's mini-series Twin Peaks: The Return (2017)
'[he] had a very low opinion on the capacity of my sex’: Mary Somerville (1780-1872) – Protophotographer and Pioneer of Colour
Get PDFThis presentation will reposition Mary Somerville (1780-1872) as a protophotographer and pioneer of colour photography. Using archival correspondence, published work and experiments, it will move across photography, writing and creative archival research processes to work cross- historically, re-touching the archive, to recover and repair a marginalised history
Risks, reflection, rewards, and resistance: academic perspectives on creative pedagogies for active learning
Get PDFIn recent decades there has been a paradigmatic shift in higher education towards active learning, requiring educators to adopt student-centred approaches to teaching to promote deep learning and the development of essential graduate attributes. A ‘Creative pedagogies for active learning’ course was designed to offer academic staff an opportunity to take risks in developing innovative student-centred teaching approaches. While participants encountered ‘dissonance’ during the early stages of the creative pedagogies course, the course leads were able to support participants through this period of uncertainty and risk-taking towards successfully disrupting their own teaching practice. This reflective analysis paper outlines the course and showcases several case studies of practice by participants. We also reflect on their experiences through a subsequent roundtable discussion. This revealed that the course had made a longer-term impact on some participants in terms of their teaching and assessment practice and showcasing this to other educators. However, resistance to change in some departments was noted, making it difficult for staff to implement creative pedagogies more widely in practice. Suggestions for overcoming resistance are presented, and the paper concludes with future directions for taking this work forward