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Appear to Disappear - Photography and Sculpture (A Relationship in the Negative)
No full textThe paper considers the relationshiop between Photography and Sculpture. A series of proposotions are put forward following a close look of the fragments of the Laocoön Sculptural Casts from the GSA Archives. Story, History and Presence of the sculptural and photographic fragments put forward a set of considerations that examine and re-evaluate Photography's relationship with Sculpture.
The paper was delivered for the occasion of the show ‘Dancing with a Ghost’ curated by Dr James Hutchinson at the Annex Gallery
Instituting Queer Art in Britain
Full text linkWhat is the cost of canons being established quickly and by large galleries? Do hegemonic institutions, including the academy, thereby centre themselves in the rescue, preservation, and study of grassroots oppositional work? Has “queer” become a marker of coherence and stability, another product label in the culture industry, rather than a radical challenge? Do monographic exhibitions and the ironically late celebration of singular prize-winning artists obscure the political and community context that vitally informed such practices? To what extent is the culture of memorialisation also one of erasure? And what might come of a return to the emergence of queer art in Britain at the end of the 1980s, of an examination of and reinvestment in the grassroots and community structures that sustained it? How has working with “queer” in institutional contexts changed or shifted since the late 1980s, and what are the insights and possibilities for institutional work now? Is there potential in this earlier moment, its varied politics and investments, that remains unrealised or undetonated? If all the present moment can yield is the celebration and canonisation of a chosen few artists, is it not a betrayal of the past and its politics, a foreclosure of the disruption and disobedience that “queer” once seemed to promise?
This conversation piece feature draws together a group of contributors to respond to these provocations and includes responses from Pratibha Parmar, Simon Watney, Topher Campbell, Seán Kissane, Owen G. Parry, Campbell X, Helena Reckitt, Dominic Johnson, Michael Petry, Irene Revell and Sunil Gupta
Empire Retold: interactive 3D model
No full textan interactive 3D model of the entire Empire Exhibition of 1938. The model is annotated with themed guided tours which incorporate archival images and video, quotes from scholarly and community sources, and prompts for critical engagement with the material. The 6 tours are themed around:
1) Tait's Tower
2) Scottish Identities
3) Hidden Histories
4) Colonialism
5) Industry
6) Energy.
The application is delivered as a scene in the Unity game engine.To install it simply:
1) download the zip file from https://radar.gsa.ac.uk/10417/31/EmpireExhibitionInteractiveApp.zip
2) unzip the files
3) keep the folder structure intact
4) double click the file called EmpireExhibitionNarratives.exe
More about the project:
The Empire Exhibition of 1938 was a major international exposition held in Bellahouston Park, Glasgow. Its purpose was to showcase the achievements of the British Empire, promote trade, and strengthen imperial bonds. It attracted over 13 million visitors during its six-month duration, yet today there is so little evidence remaining that most people are unaware of its existence, even if they regularly use the park. Whilst overshadowed by WW2, the Exhibition remains a significant historical event and continues to be relevant to the study of British social, cultural, economic, industrial, and political history. However, there is now a crucial need to reassess narratives of the Exhibition from a postcolonial perspective.
Decolonising the British Empire Exhibition of 1938 through Augmented Reality Narratives was funded by the AHRC
AR and Gamification in Museum Apps: Current Challenges and Opportunities
Full text linkThere have been numerous attempts to apply augmented reality (AR) and gamification in a museum context. Many of these have been as part of research projects, attempting to understand the potential benefits and issues of these approaches in a museum setting. Others have been rolled out as museums’ own projects for enhancing the visitor experience. Despite this rich history of attempts to utilise AR and gamification in museums, there are still many challenges and issues – and it is not uncommon for the apps and experiences in museums that apply AR and gamification to be relatively short-lived. As part of a larger research project guided by Design-Based Research (DBR) and Mixed Methods Research (MMR) to explore improved design recommendations for AR-based and gamified museum apps, we conducted surveys in both English and Chinese with young adult visitors and museum professionals to identify the current challenges and opportunities for such apps. We present the results of the survey with museum professionals, highlighting the four key challenges they identified in successfully adopting AR and gamification in museum apps. This further guides the focus of follow-up interviews currently being conducted with museum professionals, some initial feedback from this is also presented. Lastly, we conclude with a discussion on our next steps and procedures as we work towards developing professional guidelines for the design process and improved design recommendations for such apps
Detour from the studio: Novelty and walking as an approach to decenter studio learning.
Full text linkThis small-scale case study explores the effects of paired walking on interior design students. It seeks to understand how outdoor walks away from the studio foster pertinent and contextual discussions, both during the walk and within their ongoing studio activities. I introduced students to a new small-scale practice-based activity of paired walking, the design of which drew inspiration from collaborative learning, art walking practices, and musical walking scores. Utilising Reflexive Thematic Analysis, I conceptualised the students' engagement, management, and recognition of the value of their experiences during the activity and its impact on their project development. The results highlight the entangled multi-modal learning experience of paired walking, revealing the interplay of expectations and experiences of this ‘decentred’ learning environment. The decentering, moving a central narrative to the side to understand alternative perspectives of space and the influence of ‘more knowledgeable others’ away from the studio and the tutor enabled a complex renegotiation between the learner, subject, and context. This research underscores the potential for novelty to engender robust experiential learning experiences. While a ‘decentered’ approach to learning may make the recognition of that learning less accessible due to its unfamiliar and displaced nature, potentially impacting participation participants reported cognitive shifts in their immediate project and their approach to utilising spaces beyond the formal teaching areas as learning tools. These findings encourage us to consider ways to embed novelty and support learners in recognising ‘decentered’ activities as learning moments
Evaluating Serious Slow Game Jams as a Mechanism for Co-Designing Serious Games to Improve Understanding of Cybersecurity
Full text linkWe present a first evaluation of a Serious Slow Game Jam (SSGJ) methodology as a mechanism for co-designing serious games in the application domain of cybersecurity, to evaluate how the SSGJ contributed to improving the understanding of cybersecurity. To this end, we engaged 13 participants with no experience in cybersecurity, in a multidisciplinary SSGJ involving domain-specific, pedagogical, and game design knowledge, and encouraged engagement in-between scheduled days of the SSGJ. Findings show improved confidence of participants in their knowledge of cybersecurity (from 12.5% to 62.5%) after undertaking the SSGJ, with free-text answers specifically indicating an improved understanding in terms of vulnerabilities, attacks, and defences for three quarters of the participants. Also, confidence in knowledge of game design improved (12.5% to 75%), and the SSGJ successfully engaged participants in-between scheduled days. Finally, a serious game is presented that was co-designed with participants during our SSGJ, and produced as an output of the SSGJ methodology
Work Exhibited as part of 'Interwoven' Exhibition - Goldsmiths' Centre, London
No full textInterwoven: Jewellery Meets Textiles is a Goldsmiths’ Centre exhibition exploring the creative connections between contemporary jewellery and textiles. This free exhibition invites you to discover the innovative ways jewellers are engaging with textile techniques, materials, and aesthetics.
The exhibition showcases the work of over thirty celebrated jewellers, including Flora Bhattachary, Eleanor Bolton, Elizabeth Bone, Caroline Broadhead, Megan Brown, Susan Cross, Alison Evans, Nora Fok, Ruth Leslie, Jacqueline Mina, and many more. Visitors will experience a stunning display of jewellery pieces, on loan from the practising makers, the Goldsmiths’ Company collection, and the Crafts Council collection. The jewellery will be shown in dialogue with a range of textiles to explore their structural and visual interconnections. Together, they offer a rich perspective on the ongoing and evolving relationship between jewellery and textiles.
Statement
'Repetition, rhythm, and the structures inherent in textiles often inform my creative process. I love being able to suggest a sense of fluidity in precious metal and for over 20 years, I have been using wire to create forms and surfaces that play with these principles. I have a deep appreciation for the patience required to create intricate work, having been surrounded by my mother’s creations as a teacher and skilled embroiderer and quiltmaker. During my studies at Edinburgh College of Art, I was also fortunate to have Susan Cross as one of my tutors, and her beautiful work left a lasting impression on me. The use of hand-drawn wire offers immense potential for creating fine detail and volume, and by layering or interlacing multiple precious ‘threads,’ I generate rippling colour variations that playfully engage the viewer, creating moments of surprise. My jewellery is influenced by the visual effects of Optical Art, as well as the linear patterns and structures found in nature, weaving, and the patchwork-like images of M.C. Escher. I strive for my pieces to come alive with visual movement, moiré, or colour shifts that draw the eye into a world of infinite shadow and reflection.
Dutiful daughters, difficult mothers and sanctioned spheres: Chantal Akerman’s No Home Movie and My Mother Laughs
No full textIn 2013, Chantal Akerman flew back from New York to Brussels to care for her mother, Natalia (Nelly), who was dying. Nelly was the only member of her Polish-born family to survive Auschwitz, having fled in exile to Belgium in 1938. Repairing geographical distance and staying with her mother in her apartment, the filmmaker records, on camera and in writing, a melodious ceremony of their days together. The semi-surreptitiously shot vignettes of her final film, No Home Movie (released in 2015), eliminate incident and story to cinematically render the repeated gestures and essence of quotidian days of daughterhood/motherhood during palliative care in the space of the domestic.
The grey Belgian autumn fills the apartment with the diffuse light and the balcony peers onto the neighbour’s garden below. Sequestered at the end of the hall in her mother’s home (‘a refuge where I can write and smoke with the window open,’ she notes), Akerman writes My Mother Laughs, first published in 2013. A book that resembles a ‘sneeze’, so says Eileen Myles in the preface to the 2019 edition, captures the (in)tolerant, fraught love and duty of a daughter. The sneeze is a syncope that interrupts. These diarised works frame her mother’s long quiet days of confinement within the walls of her apartment, hidden from the unseen and unseeing world in motion. A life destined to end.
In its close attention to the late work of Chantal Akerman (and others including Roland Barthes and Lynne Tillman), this paper will consider reparative caregiving and impossible, irrecoverable absence or territories. It will review the diarised form as mutually aesthetic and therapeutic and extend to consider the ethics of intimate documentary and the quotidian biographical. The paper will take a hybrid form, weaving comparative, critical and theoretical analysis with narrative poetics to propose and enact a compelling relation of reparative aesthetics in visual culture and literature
Exploring Children’s Attitudes towards Digital Good/Bad through Hybrid Arts Practices
Full text linkUnderstanding children’s ideas and knowledge is crucial in shaping our collective vision and actions. Yet, children’s voices aren’t heard in discussions about our shared digital future.
Through hybrid art workshops with over 250 children, this Digital Good Research Fund project led by Dylan Yamada-Rice, worked with children to imagine and shape a possible digital future where technology use is ethical, responsible, and inclusive.
Emerging themes relate to surveillance, entertainment, ownership, agency, security, environment, climate change, loss of privacy, and inventiveness. Read the full research report to find out more
Viewing Gloster: The Visual Culture of "Runaway" Advertisements in Eighteenth‑Century Jamaica
No full textIn May 1779, a detailed description of an enslaved man named Gloster appeared in the Jamaica Mercury newspaper. This description was written by Gloster’s enslaver, who sought Gloster’s return after he had “runaway” three months prior. The evocative textual content of “runaway” adverts such as Gloster’s has been much analysed by historians; despite the aims of the adverts to capture and re-enslave the individuals they describe, they also pay seldom-seen attention to the individuality of enslaved people. This chapter builds upon a large body of literature considering the evocative textual content of “runaway” adverts but aims to alternatively consider the visual culture of the Gloster’s advert and its context within the Jamaica Mercury newspaper. It examines how the white producers of the Jamaica Mercury newspaper deliberately appealed to the ‘white gaze’ of newspaper readers through the repetition of “runaway” notices and their accompanying illustrations. However, this chapter argues that although these adverts attempt to extend surveillance over enslaved individuals through their visual design, the disconnect between the descriptions of enslaved people in the newspaper and the unknown location of their physical person, ultimately demonstrates a failure to maintain the surveying ‘white gaze.